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Journal articles on the topic 'Comedy of Morals'
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1
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.
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Friedman, Sam, and Giselinde Kuipers. "The Divisive Power of Humour: Comedy, Taste and Symbolic Boundaries." Cultural Sociology 7, no. 2 (March 27, 2013): 179–95. http://dx.doi.org/10.1177/1749975513477405.
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Using British and Dutch interview data, this article demonstrates how people from different social classes draw strong symbolic boundaries on the basis of comedy taste. Eschewing the omnivorousness described in recent studies of cultural consumption, comedy audiences make negative aesthetic and moral judgements on the basis of comedy taste, and often make harsh judgements without the disclaimers, apologies and ambivalence so typical of ‘taste talk’ in contemporary culture. The article demonstrates how, in particular, Dutch and British middle class audiences use their comedy taste to communicate distinction and cultural superiority. We discuss several reasons why such processes of social distancing exist in comedy taste and not other cultural areas: the traditionally low status of comedy; the strong relation between humour and personhood; the continuity between comedy tastes and humour styles in everyday life; as well as the specific position of comedy in the British and Dutch cultural fields.
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Deen, Phillip. "Was Dave Chappelle Morally Obliged to Leave Comedy? On the Limits of Consequentialism." Philosophy of Humor Yearbook 1, no. 1 (September 1, 2020): 135–52. http://dx.doi.org/10.1515/phhumyb-2020-0011.
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Abstract Dave Chappelle took an extended leave from comedy for moral reasons. I argue that, while he had every right to leave comedy because of his moral concerns, he was not obliged to do so. To make this case, I present Chappelle’s argument that the potential negative consequences of his racial humor obliged him to leave. Next, I argue against Chappelle’s argument about avoidable harms as the harms are not his responsibility, he was not being negligent, and the benefits of his humor outweigh the harms. I also argue in support of the intuition that another’s failure of comprehension or moral character, even if that failure will predictably result in harms to others, should not convert moral acts into immoral ones.
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Edwards, Leslie Collins. "Poetic Values and Poetic Technique in Aristophanes." Ramus 19, no. 2 (1990): 143–59. http://dx.doi.org/10.1017/s0048671x00002897.
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AtWasps57-66, Aristophanes distinguishes his comedy from humor of the vulgar (phortikē) Megarian sort. Elsewhere he boasts that his comedy is more intellectual, for it is clever and wise (Clouds548, 522); and alleges that his rivals write comedy which aims only at laughs and relies for this purpose on vulgar props and language, while his comedy is primarily verbal (epea, Clouds544), conceptual (ideai, dianoiai, Clouds547;Peace750; etc.), innovative (kainon ti, Wasps1044, 1053;Clouds547), and infused with modesty (sōphrosunē, Knights545,Clouds537; etc.). It goes without saying that any and all of these claims, made within a comedy, ought not to be taken entirely innocently. Nor, however, ought they to be dismissed as mere nonsense, for they contain what is an important contradiction within the logic of the dialectic between old and new so fundamental to comedy; it is a contradiction which runs throughout Aristophanes' discussion of his comedy, yet which is encapsulated in the first parabasis ofClouds. Here the poet identifies with the avant-garde; yet his poetry is modest (sōphron) and he scorns the manners — the hairstyle, to be exact (ou komō, 545) — of the affected or decadent young of his day, although a sign of being refined (kompsos). Aristophanes in his posture of innovator shows impatience with the traditional inasmuch as it is repetitive; yet he also claims a position of priority and moral sensibility incompatible with the posture of innovator within the terms of his own comedy. Moreover, Aristophanes situates the antithesis between old and new within an overt hierarchy in which the old, although preferred for its moral authority, is continually being usurped by the new: sophistic rhetoric has appropriated the vocabulary which both sides of the opposition must employ and has, by controlling the terms and context, informed the debate between them.
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Albiac Blanco, María Dolores. "El error moral en el teatro de Leandro Fernández de Moratín." Cuadernos de Estudios del Siglo XVIII, no. 23 (October 20, 2013): 7–34. http://dx.doi.org/10.17811/cesxviii.23.2013.7-34.
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Estudio de si El viejo y la niña puede considerarse drama y no comedia, en virtud del argumento, categoría de los personajes y desenlace; y análisis del alcance de la propuesta de la obra, a la luz de la moral y la ética ilustrada.PALABRAS CLAVEComedia, drama, moral, Leandro Fernández de Moratín, El viejo y la niña. Étude sur se El viejo y la niña peut être consideré comme un drame et non une comédie, en vertu de l’argument, catégorie des personnages et dénouement; et une analyse de la portée de la proposition de l’oeuvre, à la lumière de la morale et l’etique illustrée.MOTS-CLÉSComédie, drame, morale, Leandro Fernández de Moratín, El viejo y la niña.
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Andy Wicaksono, Galuh, and Fathul Qorib. "Pesan Moral Dalam Film Yowis Ben." Jurnal Komunikasi Nusantara 1, no. 2 (December 17, 2019): 72–77. http://dx.doi.org/10.33366/jkn.v1i2.23.
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The number of movies made in Indonesia there are several films that give a good moral message in it. Through the movie "Yowis Ben" the director tried to make something new and different from the comedy genre films on previous comedy films. The purpose of this research is to know and understand the moral messages contained in the movie Yowis Ben. In this study used qualitative research method by using the research object of the Film Yowes Ben. While the data analysis technique uses the semiotic analysis of Charles Sander Pierce which is based on logic, with reasoning through the signs. The Model that shows the three main elements of the marking forming is representament, object and Interpretant. The results of this research show that the YOWIS BEN film has a moral message in various sides of life through signs that are munncul both visual and verbal in their respective stories. There is a moral message related to Bayu's life. It can therefore be concluded that the figures and the talks that exist in each scene are a representation of the moral message.
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D'Cruz, Doreen. "Comedy and Moral Stasis in Greene's The Comedians." Renascence 40, no. 1 (1987): 53–63. http://dx.doi.org/10.5840/renascence19874015.
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Safronova, Elena. "The The Issue of Genre Belonging of F.M. Dostoevsky's Work "The Village of Stepanchikovo"." Philology & Human, no. 1 (July 15, 2021): 114–33. http://dx.doi.org/10.14258/filichel(2021)1-08.
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The article discusses the issue of genre belonging of Dostoevsky's work «The Village of Stepanchikovo », provides an overview and analysis of existing points of view on the problem of genre, and suggests that this literary text represents a genre experiment of the exiled author. Genetically, the work goes back to the comedy genre. Dostoevsky certainly takes into account the individual traditions of antique, Renaissance, classic comedy, uses a matrimonial plot that is frequent for the comedy repertoire. By the type of plot, «The Village of Stepanchikovo» is close to sitcoms, comedy of intrigue and comedy of characters. At the same time, the author borrowed an unexpected denouement from the genre of tragedy, and such a plot component as twists and turns, moreover, made it a permanent element of the plot. Dostoevsky gives preference to the novel as a genre more appropriate to the peculiarities of his talent and facilitating a complete, internally contradictory depiction of the «course» of life, synthesizing its various modifications: tale of chivalry, love novel, manor, moral, family, psychological, social, philosophical novel.
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Díez de Revenga, Francisco Javier. "Galdós en Murcia y el estreno de Mairucha (1903)." Monteagudo, no. 25 (October 15, 2020): 103–22. http://dx.doi.org/10.6018/monteagudo.446281.
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Con motivo del estreno de Mariucha, Benito Pérez Galdós estuvo en Murcia en octubre de 1903. Esta visita hay que entenderla en el marco de la amistad que mantenía Galdós con el matrimonio de actores, el aristócrata murciano Fernando Díaz de Mendoza y María Guerrero, que representaron en Murcia Mariucha. La comedia representa la posición de Galdós ante la realidad de España cuando la sociedad tanto desde el punto de vista moral como económico estaba sufriendo una notable degradación después del Desastre de 1898, y cuando las clases acomodadas y desde luego las aristocráticas experimentaban sonados episodios de ruina social. On the occasion of the premiere of Mariucha, Benito Pérez Galdós came to Murcia in October 1903. This visit must be understood within the framework of the friendship that Galdós maintained with the marriage of actors, the Murcian aristocrat Fernando Díaz de Mendoza and María Guerrero, who represented Mariucha in Murcia. The comedy reflects Galdo's attitudes towars reality of Spain when society from both moral andeconomic point of view was suffering a remarkable degradation after the Disaster of 1898 reality of Spain when society from both moral and economic point of view was suffering a remarkable degradation after the Disaster of 1898, and when the well-off classes and of course the aristocrats experienced great episodes of social ruin.
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Rothaus Moser, Matthew. "Understanding Dante’s Comedy as Virtuous Friendship." Religions 10, no. 3 (March 22, 2019): 219. http://dx.doi.org/10.3390/rel10030219.
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As Dante explains in his epistle to Can Grande, the purpose of the Comedy is to move the reader from a state of misery to a state of happiness. The poet himself testifies that the poem was written as a work of moral philosophy oriented to the achievement of happiness, eudaimonia: the beatific vision of God. Moreover, Dante insists on his poem’s efficacy to affect in its readers a similar moral and religious transformation as that which the poem represents through the narrative journey of the pilgrim. To put it another way, Dante represents his poem’s relationship to its reader as a kind of virtuous friendship. This essay sets forth a model for teaching Dante’s poem as an experiment in virtuous friendship that can transform the classroom into a workshop for the philosophical and religious quest for happiness. This involves teaching the text with an eye not only to the content and style of the poem but also to the performative and participatory demands of the text. Beginning with this framework, this essay works out pedagogical strategies for teaching the Comedy as a form of virtuous friendship extended over the centuries between Dante Alighieri and the contemporary reader. Chiefly, I explore ways Dante makes his readers complicit in the pilgrim’s own moral and spiritual journey toward the virtue of hope translated into the practice of prayer through a close, pedagogical reading of Inferno 3, Purgatorio 5, and Paradiso 20. I explore ways that Dante’s use of surprise, shock, misdirection, appeal to mystery, and retreat to silence creates a morally significant aporia of knowledge that serves as a laboratory for readers’ own virtuous transformation. I end with a critical assessment of the challenges involved in understanding the Comedy as virtuous friendship.
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Procházka, Martin. "Early Modern Cultural Hybridity: Bartholomew Fair as a Heterotopia of Hamlet." Prague Journal of English Studies 8, no. 1 (July 1, 2019): 9–20. http://dx.doi.org/10.2478/pjes-2019-0001.
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Abstract As a contribution to the discussion of Shakespeare’s “appropriability” (Stanley Cavell), this paper examines some aspects of the cultural position of Hamlet on the Jacobean entertainment market, as they are indicated in Ben Jonson’s comedy Bartholomew Fair (1614). The metatheatrical features of Bartholomew Fair may be said to measure the play’s resistance against appropriating the unique and problematic aspects of Hamlet, such as the Ghost or The Mousetrap. These are deconstructed in Jonson’s comedy, which anticipates the Enlightenment views of the social functioning of theatre as a “moral institution”.
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TODD, S. C. "MALE SLAVE SEXUALITY AND THE ABSENCE OF MORAL PANIC IN CLASSICAL ATHENS." Bulletin of the Institute of Classical Studies 56, no. 2 (December 1, 2013): 37–53. http://dx.doi.org/10.1111/j.2041-5370.2013.00057.x.
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Abstract A puzzling feature of slavery in Classical Athenian literature is the lack of attention paid to the sexuality of male slaves or ex-slaves. It is not that they are never depicted as sexual beings, but Athenian writers display much more interest in the sexuality of female than of male slaves, and even where the latter are presented in sexual terms, there is little sense that this might pose a threat to free-born women. To reduce the danger of using sources as proof-texts and ignoring the significance of literary genre, this paper is structured around an analysis of male slave sexuality in Old Comedy, more briefly New Comedy, and Oratory, with comparisons from other texts where appropriate. An extended conclusion explores possible explanations, focusing on differences between classical Athenian and modern US slavery.
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Rossignoli, Claudia. "Playing the Afterlife: Dante’s Otherworlds in the Gaming Age." Games and Culture 15, no. 7 (September 29, 2019): 825–49. http://dx.doi.org/10.1177/1555412019872578.
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In the centuries of its continuous circulation, Dante’s Comedy has been one the most productive examples of the transmedia potential of literary works. The timeless relevance of its fundamental moral questions, the cosmic dimension of its imaginative power, and the intensity of its realism, all hold unparalleled promise for any kind of adaptation, translation, or transmediation. The Comedy, and especially its first infernal cantica, gets periodically reinvented and transferred into creative outlets that are increasingly technology driven. This article will explore existing gaming adaptations of Dante’s Comedy, to focus on the one hand on textual aspects that are mostly exploited to achieve commercial success and on the other on the potential offered by the text and often marginalized by developers. The article will discuss ways in which new creative approaches would allow for a gaming experience with the authenticity, intensity, and relevance of the “original.”
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Wibisono, Salman, and Denik Wirawati. "Teknik Bahasa Humor Komedian Sadana Agung dan Keterkaitan dengan Bahan Ajar Teks Anekdot." Lingua Susastra 1, no. 2 (December 14, 2020): 62–72. http://dx.doi.org/10.24036/ls.v1i2.9.
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Sadana Agung dikenal sebagai salah satu komika yang selalu mengusung pesan moral dalam permainan bahasa humornya. Hal ini tentu menarik untuk diteliti dan berkemungkinan untuk dijadikan salah satu media pembelajaran teks anekdot pada tingkat Sekolah Menengah. Terkait hal tersebut, penelitian ini bertujuan untuk mendeskripsikan teknik permainan bahasa humor Sadana Agung dalam acara Stand Up Comedy; kaitan analisis permainan bahasa humor Sadana Agung dalam acara Stand Up Comedy dengan bahan ajar teks anekdot Kelas X SMA. Subjek penelitian ini berupa acara Stand Up Comedy Season 6 Kompas TV. Objek penelitian ini yaitu permainan bahasa Sadana Agung dalam Acara Stand Up Comedy Season 6 Kompas TV. Metode pengumpulan data yang dipergunakan metode simak catat. Teknik pengumpulan data teknik sadap dengan mentranskip data yang telah disimak tersebut ke dalam bentuk teks dan dimasukan lagi ke dalam kartu data untuk didokumentasikan. Instrumen penelitian ini adalah kedua peneliti. Realibilitas data dalam penelitian ini dilakukan dengan cara mendengarkan dan menganalisis data secara berulang-ulang. Berdasarkan hasil analisis yang telah dilakukan dalam penelitian ini dapat disimpulkan bahwa teknik permainan bahasa humor yang terdapat dalam acara Stand Up Comedy Season 6 Kompas TV meliputi teknik permainan bahasa humor yaitu repetisi, inversi, metafora artifisial, interferensi resiplokal , homonimi, dan subtitusi artifisial. Adapun dari 45 data yang diteliti, 17 repetisi, 18 metafora artifisial, 8 homonimi dan 2 subtitusi artifisial. Terdapat keterkaitan antara teknik pemainan bahasa humor pada Sadana Agung dalam acara Stand Up Comedy dengan pembelajaran Bahasa Indonesia tingkat SMA pada KD 3.5 mengevaluasi teks anekdot dari aspek makna tersirat, dan KD 4.5 mengontruksi makna tersirat dalam sebuah teks anekdot baik lisan maupun tulis.
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Wibisono, Salman, and Denik Wirawati. "Teknik Bahasa Humor Komedian Sadana Agung dan Keterkaitan dengan Bahan Ajar Teks Anekdot." Lingua Susastra 1, no. 2 (December 14, 2020): 62–72. http://dx.doi.org/10.24036/ls.v1i2.9.
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Sadana Agung dikenal sebagai salah satu komika yang selalu mengusung pesan moral dalam permainan bahasa humornya. Hal ini tentu menarik untuk diteliti dan berkemungkinan untuk dijadikan salah satu media pembelajaran teks anekdot pada tingkat Sekolah Menengah. Terkait hal tersebut, penelitian ini bertujuan untuk mendeskripsikan teknik permainan bahasa humor Sadana Agung dalam acara Stand Up Comedy; kaitan analisis permainan bahasa humor Sadana Agung dalam acara Stand Up Comedy dengan bahan ajar teks anekdot Kelas X SMA. Subjek penelitian ini berupa acara Stand Up Comedy Season 6 Kompas TV. Objek penelitian ini yaitu permainan bahasa Sadana Agung dalam Acara Stand Up Comedy Season 6 Kompas TV. Metode pengumpulan data yang dipergunakan metode simak catat. Teknik pengumpulan data teknik sadap dengan mentranskip data yang telah disimak tersebut ke dalam bentuk teks dan dimasukan lagi ke dalam kartu data untuk didokumentasikan. Instrumen penelitian ini adalah kedua peneliti. Realibilitas data dalam penelitian ini dilakukan dengan cara mendengarkan dan menganalisis data secara berulang-ulang. Berdasarkan hasil analisis yang telah dilakukan dalam penelitian ini dapat disimpulkan bahwa teknik permainan bahasa humor yang terdapat dalam acara Stand Up Comedy Season 6 Kompas TV meliputi teknik permainan bahasa humor yaitu repetisi, inversi, metafora artifisial, interferensi resiplokal , homonimi, dan subtitusi artifisial. Adapun dari 45 data yang diteliti, 17 repetisi, 18 metafora artifisial, 8 homonimi dan 2 subtitusi artifisial. Terdapat keterkaitan antara teknik pemainan bahasa humor pada Sadana Agung dalam acara Stand Up Comedy dengan pembelajaran Bahasa Indonesia tingkat SMA pada KD 3.5 mengevaluasi teks anekdot dari aspek makna tersirat, dan KD 4.5 mengontruksi makna tersirat dalam sebuah teks anekdot baik lisan maupun tulis.
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Horne, Brian. "Can We Inhabit the Moral Universe of Dante's Divine Comedy?" Studies in Christian Ethics 16, no. 1 (April 2003): 61–71. http://dx.doi.org/10.1177/095394680301600105.
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Burke, Helen M. "Moral Reform in Comedy and Culture, 1696–1747 by Aparna Gollapudi." Scriblerian and the Kit-Cats 46, no. 1 (2013): 50–52. http://dx.doi.org/10.1353/scb.2013.0054.
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Kompridis, Nikolas. "Moral Perfectionism and Cavell's Romantic Turn." Conversations: The Journal of Cavellian Studies, no. 2 (July 9, 2014): 24–34. http://dx.doi.org/10.18192/cjcs.v0i2.1101.
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The first book of Stanley Cavell’s that I read is the only book that I ardently wished I had written, The Pursuits of Happiness: The Hollywood Comedy of Remarriage. Why this book, and not some high impact, world-historical book like Heidegger’s Being and Time or Wittgenstein’s Philosophical Investigations? Well, there are a number of reasons, some of them personal and some of them, well, Cavellian. Most immediately, the book explained to me why I so much enjoyed watching again and again over the course of more than three decades the films which are the objects of Cavell’s interpretations — why, in short, watching these films made me so happy, why they filled me with goofy delight, always ringing a smile to my face, a smile not unlike that smile of Cary Grant’s (from Holiday) reproduced in the pages of The Pursuits of Happiness.
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Lewicki, Arkadiusz. "Transgender/transvestitism/cross-dressing in Polish cinema." Dziennikarstwo i Media 11 (January 24, 2020): 49–56. http://dx.doi.org/10.19195/2082-8322.11.5.
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The first Polish film taking up the problem of cross-dressing was a comedy from 1934, titled Is Lucyna a Girl? Czy Lucyna to dziewczyna? by Juliusz Gardan. In the history of Polish cinema there were a few more films about transgender/transvestism. The paper describes these films and indicates what type of socio-moral influence changes the way of showing this type of characters and themes.
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Perkins, Pam. "A Subdued Gaiety: The Comedy of Mansfield Park." Nineteenth-Century Literature 48, no. 1 (June 1, 1993): 1–25. http://dx.doi.org/10.2307/2933938.
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Jane Austen's Mansfield Park is not, as has often been claimed, a dour morality tale, endorsing prim virtue over wit and charm. Fanny and Mary can be read as representatives of two opposing comic traditions, those of sentimental comedy and "laughing" comedy. The movement of the novel contrasts the strengths and weaknesses of these two traditions, ultimately suggesting that neither is entirely satisfactory. Fanny's moral good sense is unattractive without any leaven of Mary's charm, while Mary's witty amorality is shown to be both selfish and cruel. As Austen suggests the weaknesses of both comic traditions through the weaknesses of her heroines, she avoids endorsing either tradition and explores the limitations of both. Mansfield Park is not a funny novel, but in its exploration of comic conventions it continues, on a structural level, the playfulness that marks Austen's other works.
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Kanzler, Katja. "Veep, Invective Spectacle, and the Figure of the Comedic Antiheroine." Zeitschrift für Anglistik und Amerikanistik 67, no. 2 (June 26, 2019): 147–62. http://dx.doi.org/10.1515/zaa-2019-0014.
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Abstract This article approaches HBO’s Veep through the lens of what Dan Hassler-Forest (2014) has described as the meta-genre of ‘Quality TV.’ Against the backdrop of ‘Quality TV’s’ conspicuous investment in masculinity, I ask how Veep actualizes the meta-genre’s conventions of moral ambiguity and sensationalist storytelling around a female protagonist and in the genre of comedy. I focus on one key strategy I see the show employ in this actualization, a strategy I conceptualize as invective spectacle. In Veep, invective spectacle translates ‘Quality TV’s’ characteristic transgressiveness into the conventions of comedy and, in the process, constructs the figure of a morally ambiguous antiheroine. The dynamics of invective spectacle – as a poetics that appears to be booming in contemporary television culture – structure the show’s elaboration of a complex female protagonist as a morally flawed woman of power.
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A.Rahman, Suria Hani, Rosidayu Sabran, and Rosninawati Hussin. "Islamic Moral Comedy? The Representation of Islam in Malaysian Comedy Films Syurga Cinta (Paradise of Love, 2009) and Ustaz, Mu Tunggu Aku Datang! (Ustaz, I’m Coming! 2013)." ‘Abqari Journal 23, no. 2 (December 8, 2020): 128–38. http://dx.doi.org/10.33102/abqari.vol23no2.356.
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This article examines how Islam is being represented in Malaysian comedy films: Syurga Cinta/Paradise of Love (Ahmad Idham, 2009) and Ustaz, Mu Tunggu Aku Datang!/Ustaz, I’m Coming! (Pierre Andre, 2013). As one of a popular genre in film, comedy and its comical narratives has the ability to critique social, cultural and political conditions within the specific context of Malaysia. Using film narrative analysis, this study identifies that both films revolve around a similar plot of a male quest for haram (forbidden) obsessions, such as fortune or women, and a return to morality (i.e. humility and true love). As these comedies attempt to illuminate the intersection between religion and comical narrative, the way they feature the main characters are not simply as sinful or immoral. Rather, they are portrayed as misguided, but equally amusing in dealing with misfortune and wrongfulness. This article found that the central element of both films lies in its incongruity between the traditional Islamic principle and trajectories which against morality. Besides the call for morality, this article also argues that Malaysian comedy is also shaped in response to the Islamisation of the public sphere, thus, underlines the ‘re-imagine social life’ within the Malay (sian)-Muslim context.
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Gorton, Kristyn. "‘Walking the line between saint and sinner’." Critical Studies in Television: The International Journal of Television Studies 11, no. 2 (May 9, 2016): 151–63. http://dx.doi.org/10.1177/1749602016645555.
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This article considers how the notion of care, whether as an act of kindness or as a moral ethics, is reflected and worked through in the contemporary American television series, Nurse Jackie (2009–2015). Nurse Jackie, a comedy drama set in a fictional Catholic New York City Hospital, explores the ‘line between saint and sinner’, in the life of an emergency room (ER) nurse. This article considers how Jackie’s character negotiates moral boundaries in a way that allows for a reconsideration of both the complexity of care practices in contemporary society and the gendered nature of these practices.
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Tikhomirov, Vladimir V. "Comedy "The Forest" by Alexander Ostrovsky: holding out for a hero. Experience of a comment." Vestnik of Kostroma State University, no. 3 (2019): 84–88. http://dx.doi.org/10.34216/1998-0817-2019-25-3-84-88.
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The publication of comedy "The Forest" and its premier performances in St. Petersburg and Moscow in 1871 germinated considerable number of critical responses; at that, in most of them there was lack of understanding of artistic-moral and psychological problems the playwright was uneasy about and showed in his play. Alexander Ostrovsky was considered to be, first of all, a portrayer of ordinary life who was keeping exposing the cloyed social sores of the Russian life. Only few reviewers paid attention that in the comedy, luminaries of art were opposed to the spiritless world of powers that be. They were not ideal, but capable to rise beyond mercantile interests, and their restless existence was, in the opinion of the author, more attractive, than life of men in the street filled with falseness, intrigues and lie. Alexander Ostrovsky understands that art, unfortunately, is not omnipotent, but it also is not powerless; it well influences the person. The comedy "The Forest" carries on tradition of search of the positive fundamentals in the Russian life by the playwright and opens the important topic of theatre and figures of theatre – carriers of humanistic values – in his creative work; it plans a new vector of holding out for the hero.
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Pinna, Giovanna. "Ancient Comedy Reloaded: Aesthetics and Moral Reflection in Lessing’s Rewriting of Plautus." Monatshefte 111, no. 2 (June 2019): 177–91. http://dx.doi.org/10.3368/m.111.2.177.
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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.
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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.
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Hiscock, Andrew. "‘Come, now a roundel and a fairy song’: Shakespeare’s A Midsummer Night’s Dream and the early modern invitation to the dance." Cahiers Élisabéthains: A Journal of English Renaissance Studies 97, no. 1 (August 6, 2018): 39–68. http://dx.doi.org/10.1177/0184767818788087.
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This article considers the status and function of dance in one of Shakespeare’s best-known comedies. Equally importantly, it seeks to embed this playtext within the intense and multifaceted cultural debate surrounding dance and performance in early modern England. Dance is explored in legal, moral, philosophical and spiritual terms in the course of this discussion. In its final stages, this article also considers the appeal for dancing which the comedy has exercised for generations of performers down the centuries.
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Topping, Ryan N. S. "The Divine Comedy and Four Lessons in the Catholic Moral Vision." Logos: A Journal of Catholic Thought and Culture 14, no. 4 (2011): 39–54. http://dx.doi.org/10.1353/log.2011.0032.
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Last, Suzan. "Marlowe’s Literary Double Agency: Doctor Faustus as a Subversive Comedy of Error." Renaissance and Reformation 36, no. 1 (January 1, 2000): 23–44. http://dx.doi.org/10.33137/rr.v36i1.8587.
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Le présent article se veut une réévaluation des éléments comiques du 1616 (“B”) texte de Doctor Faustus deMarlowe, lesquels ont été régulièrement sous-estimés ou trop hâtivement catégorisés comme frivoles, falsifiés, ou nuisibles à l’unité de la pièce. Au lieu de les intégrer dans la tradition homilétique, donc celle du théâtre moralisateur du Moyen Âge, cette étude les trouve parodiques et subversifs. Le traitement de Marlowe annonce une nouvelle sensibilité littéraire d’indéterminisme ludique et ambiguïté morale.
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King, Fergus J. "A Funny Thing Happened on The Way to the Parable: The Steward, Tricksters and (Non)sense in Luke 16:1–8." Biblical Theology Bulletin: Journal of Bible and Culture 48, no. 1 (January 22, 2018): 18–25. http://dx.doi.org/10.1177/0146107917746578.
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The parable of the Steward (Luke 16:1–8) has long vexed interpreters. Central to its difficulty is how the behaviour of a steward identified variously as “dishonest” or “unjust” can stand as an exemplary figure. Previous attempts to resolve this issue have included studies which have identified the Steward as a slave, and compared him to figures who appear in literary studies (the Trickster) and the Comedy of the ancient world (the servus fallax or callidus). However, these have failed to realize fully the moral ambiguity offered by these literary types. When set in the fictive world of moral ambiguity and subversion that they represent, it becomes easier to see how the Steward, with all the subversion he brings, becomes an exemplary model of discipleship. His financial chicanery will mirror the unorthodoxy of reconciliation that is lived out by Jesus of Nazareth.
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Willi, Andreas. "New language for a New Comedy: A linguistic approach to Aristophanes'Plutus." Proceedings of the Cambridge Philological Society 49 (2003): 40–73. http://dx.doi.org/10.1017/s0068673500000948.
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Aristophanes'Plutusis often regarded as a dull play. According to two of the leading specialists on Aristophanes in Great Britain, the comedy displays ‘a certain amount of disjointedness in its moral and religious themes, and a certain lack of energy in its humour’, and the modern reader feels a ‘decline in freshness, in verbal agility, in sparkle of wit, in theatrical inventiveness’. Others regret alleged or real inconsistencies, the lack of punning and verbal play, the absence of nearly all choral interludes, a parabasis, and political advice in general, and the dearth of references to historical figures. Thus, the temptation is strong to follow those who read a medical history intoPlutus: Aristophanes, by now sixty-five years old, had grown tired and saved hisespritfor every third or fourth play. But such speculations do not do justice to a poet who did not have to write for a living. Before accepting them, we should first try to explain the change in other ways, admitting thatPlutusmay differ from the earlier plays for generic reasons. On this path, the linguistic analysis ofPlutuswill turn out to be helpful.
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Dunn, Francis M. "The Battle of the Sexes in Euripides' Ion." Ramus 19, no. 2 (1990): 130–42. http://dx.doi.org/10.1017/s0048671x00002885.
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Euripides' Ion has suffered from the attempt to find in the play an overriding message or moral. Verrall and his successors saw the Ion as an attack against Apollo and organized religion; Wassermann and Burnett argue that it defends orthodox piety; Grégoire and Loraux view it as a hymn or lament on Athenian national pride; and Knox and Gellie respond that the Ion is pure comedy with no deeper meaning. There is of course some truth to each of these interpretations, but it does not follow that the play's ‘real meaning’ lies somewhere in between them. I suggest that we read the Ion not as an abstract argument but as drama, and in particular as a social comedy whose ‘meaning’ lies not in an underlying message but in the action itself and in the conflicts among the play's characters, human and divine, male and female, foreign and Athenian.Such conflicts, in this play at least, focus attention upon the role of the gods, the place of foreigners in Athens, and relations between men and women. Of these three subjects, the first two have dominated discussion of the Ion, both by those who find them central to the play's religious or nationalistic theme, and by those who consider them incidental to the play as comedy. I shall first show that the third area of conflict — relations between men and women — is equally important in the Ion and reflects an important issue in contemporary Athens. Second, I shall argue that the gender issues raised somewhat provocatively in the first half of the play are upstaged by the melodramatic excitement of the second half. And I shall suggest, in conclusion, that although it is only one of many social and family conflicts in the drama, the battle between the sexes shows how the Ion raises important and difficult questions without becoming an ‘issue play’.
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Lowenthal, Cynthia. "Aparna Gollapudi Moral Reform in Comedy and Culture, 1696–1747Moral Reform in Comedy and Culture, 1696–1747. Aparna Gollapudi. Burlington, VT: Ashgate, 2011. Pp. xii+185." Modern Philology 111, no. 4 (May 2014): E423—E425. http://dx.doi.org/10.1086/674693.
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Meerhoff, Kees. "Commenter Térence au XVIe siècle:." Rhetorica 36, no. 4 (2018): 344–66. http://dx.doi.org/10.1525/rh.2018.36.4.344.
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Terence, celebrated author of six comedies, has been studied in many classrooms during Antiquity. A witness of this fact is the extensive commentary by Donatus. Among most fathers of the Church, Terence had a bad press. For Lactantius, the eloquence displayed in comedy is altogether pernicious. Augustine singles out a well-known passage from the Eunuch for censure on several occasions. In Renaissance education, nonetheless, Terence remained a prerequisite for mastering eloquence. Erasmus strongly recommended him to teachers of his age. Melanchthon's belief in Terence as a master of excellence in everyday Latin and a model of rhetorical skill was strengthened by his positive appraisal of Terence's moral intentions. In the theological philosophy he developed, ancient ethics acquired a prominent place. Disciples of the praæceptor Germaniæ published extensive commentaries on Terence's comedies. J. Willich carefully defined the moral issues of each individual scene in his surprisingly detailed analysis of Terence's comedies. His commentary (1550) enjoyed considerable fame.
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Falzon, Christopher. "ExperiencingForce Majeure." Film-Philosophy 21, no. 3 (October 2017): 281–98. http://dx.doi.org/10.3366/film.2017.0052.
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This article looks at the 2014 Swedish comedy-drama Force Majeure as a kind of moral thought experiment, but also insofar as it might not fit such a model. The idea of a cinematic ethics, of cinema as providing an avenue for thinking through ethics and exploring ethical questions, finds at least one expression in the idea of film as experimental in this sense. At the same time, simply subsuming film to the philosophical thought experiment risks forgetting what film itself brings to the proceedings; and how the cinematic medium might allow for an experimentation that goes beyond what can be done within the philosophical text. As experimental in a broad sense, Force Majeure evokes an experience, the extraordinary event beyond one's control, capable of putting a moral agent to the test, challenging one's sense of who one is and what one stands for. The film unfolds as a reflection on the results of this encounter with experience, and on the kind of moral self this experiment brings to light; and in the course of this reflection, it suggests some general conclusions about the human condition.
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Barrero Pérez, Óscar. "Los "Pájaros ciegos", de Víctor Ruiz Iriarte: un drama en tiempos de comedia." Lectura y Signo, no. 6 (December 21, 2011): 207. http://dx.doi.org/10.18002/lys.v0i6.3555.
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Los pájaros ciegos, de Víctor Ruiz Iriarte, es un drama impropio de un tiempo, la posguerra, dominado por la comedia. La comparación de sus diferentes redacciones ilustra las inquietudes de la censura, tanto las ideológicas como las morales. Posiblemente desalentado por su enfrentamiento con el drama, Ruiz Iriarte dio un giro a su obra y optó por internarse por la senda de la comedia, en la que habría de ser una de las voces más reconocidas de los años cincuenta del pasado siglo
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Oberprieler, G. "Angela Borgia: C.F. Meyer’s 'Göttliche Komodie'." Literator 10, no. 1 (May 7, 1989): 26–38. http://dx.doi.org/10.4102/lit.v10i1.820.
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The harmonious, almost idyllic ending of C.F. Meyer’s last completed novella Angela Borgia must seem surprising in the context of his prose work as a whole. It is believed to reflect the intensified desire of the ageing and sickly poet to find a small livable ‘paradise’ in this world, based on Christian values. Man’s possible redemption and moral development are shown in the person of Giulio in strong parallel with Dante’s way to heavenly Paradise in the Divine Comedy. The fundamental difference between the two works lies, however, in the fact that the realist Meyer at the end of the 19th Century transfers Dante’s poetic vision of the hereafter not only to this world, but to a large extent to the physical sphere within man himself.
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Roush, Sherry. "Dante as Piagnone Prophet: Girolamo Benivienis "Cantico in laude di Dante" (1506)." Renaissance Quarterly 55, no. 1 (2002): 49–80. http://dx.doi.org/10.2307/1512532.
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If imitation is the highest form of praise, then Girolamo Benivienis canto describing his otherworldly encounter with Dante's spirit is certainly a tribute to the author of the Divine Comedy. Despite its title, however, Benivieni's project is not simply epideictic. In it, Benivieni represents Dante in a highly anachronistic way, as a kind of spokesman for the piagnoni, the ardent supporters of Girolamo Savonarola's program of moral austerity and Florentine republican politics between the 1490s and the first decades of the Cinquecento. This study argues that Benivieni articulates his controversial, ideological vision in a necessarily prudent way by appropriating Dante as a safe and authoritative cultural icon and adopting a deliberately ambiguous symbolic language, which lauds himself and his politics as much as it does Dante.
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Vanashree. "Freak Show in Black Comedy: Moral and Physical Disability in Dharamveer Bharati’s ‘Gulki Banno’ (Gulki the Bride)." Indian Journal of Gender Studies 26, no. 3 (October 2019): 350–63. http://dx.doi.org/10.1177/0971521519861174.
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Dharmveer Bharati’s1 ‘Gulki Banno’2 portrays the life of Gulki, a young woman who is a humpback. Set in Allahabad of the 1970s, it describes Gulki’s struggle for survival and lays bare the manner in which deformity or disability is seen in our society. This article shows the varied ways by which her impaired body is associated with evil and deviance and is the object of children’s pranks and adult’s derision. It engages the reader with the issues of spousal abuse, juvenile delinquency, a disabled’s search for space and, most perceptibly, the selfish motives behind the display of philanthropy. The analysis probes the underlying dimensions of moral and physical disability, underlining how multiple shades of the comic weave through the story to impending tragedy.
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Lacchia, Anthea R., and Stephen Webster. "<i>La Commedia Scientifica</i> – Dante and the scientific virtues." Geoscience Communication 4, no. 2 (April 7, 2021): 129–45. http://dx.doi.org/10.5194/gc-4-129-2021.
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Abstract. The ethical challenges facing contemporary science range from scientific misconduct to the rightful treatment of people, animals and the environment. In this work, we explore the role of virtue ethics, which concern the character of a person, in contemporary science. Through interviews with 13 scientists, eight of whom are geoscientists, we identify six virtues in science (honesty, humility, philia, innocence, generosity and reticence), paired with vices, and construct a narrative argument around them. Specifically, we employ the narrative structure of the late medieval poem The Divine Comedy, by Dante Alighieri, and draw on its moral universe to explore the scientific virtues. Using this narrative device, we make the case for virtue ethics being a reliable guide for all matters scientific. As such, this work lays out a modern code of conduct for science.
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Soler, María José García. "La crítica de los políticos en la Comedia Antigua." Humanitas 65 (August 30, 2016): 55–70. http://dx.doi.org/10.14195/2183-1718_65_3.
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La comedia antigua puso su atención en todos los aspectos relacionados con la vida en Atenas haciendo gala de una gran libertad de palabra. Uno de sus blancos principales fueron los políticos que regían la ciudad, criticados sin piedad por su actuación pública, así como por sus características físicas y morales.