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Academic literature on the topic 'Edwardian upper class comedy'
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Journal articles on the topic "Edwardian upper class comedy"
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Bush, Julia. "Ladylike Lives? Upper Class Women's Autobiographies and the Politics of Late Victorian and Edwardian Britain." Literature & History 10, no. 2 (November 2001): 42–61. http://dx.doi.org/10.7227/lh.10.2.3.
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Hardin, Richard F. "Encountering Plautus in the Renaissance: A Humanist Debate on Comedy*." Renaissance Quarterly 60, no. 3 (2007): 789–818. http://dx.doi.org/10.1353/ren.2007.0276.
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AbstractHistorians of comedy can profit from a study of the sixteenth-century debates regarding the merits of Plautus (ca. 254–184 BCE), most of whose works were unknown before the late fifteenth century. Early performances and editions led to contemporary theories regarding laughter, language, and morality, often in the context of a comparison with the plays of Terence (d. 159 BCE), who was sometimes viewed as superior by upper-class audiences. From the conflicting opinions of Andrea Navagero and Francesco Florido, to the neoclassical strictures of Daniel Heinsius, this study pursues learned opinion on Plautus as he became a principal author in the European canon. Plautus’s variances from Aristotelian and Horatian precepts created a lively and lasting ferment in discussions of comedy.
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Adams, Annmarie. "Eden Smith and the Canadian Domestic Revival." Articles 21, no. 2 (July 3, 2013): 104–15. http://dx.doi.org/10.7202/1016794ar.
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The designer of more than 2500 detached houses in late nineteenth-century and early twentieth-century Toronto, Eden Smith has been hailed as the author of a distinctly Canadian style of domestic architecture. Yet his self-promotion and the reception of his work in both the professional and popular presses of the time emphasize the Englishness of his houses. This paper considers the domestic architecture of Eden Smith as an index of attitudes held by Toronto's upper middle class toward Britain in the early twentieth century. What did the image of an "English house" represent in Edwardian Toronto? Why were these particular qualities attractive to Toronto's landed gentry? Eden Smith's architecture was both distinct and derivative. The language of the elevations was unmistakably British, while the plan of his houses was something completely new. Smith's popularity and his influence on subsequent generations of Canadian house-architects speak eloquently of the willingness of Toronto's middle class to try new things, but only clothed in the auspices of a British past.
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Woods, Faye. "Too Close for Comfort: Direct Address and the Affective Pull of the Confessional Comic Woman in Chewing Gum and Fleabag." Communication, Culture and Critique 12, no. 2 (April 12, 2019): 194–212. http://dx.doi.org/10.1093/ccc/tcz014.
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Abstract The 2010s saw a boom in television comedies, created by, written, and starring women, that explored the bawdy and chaotic lives of protagonists who were experiencing some form of arrested development. These comedies sought to build intimate connections with their imagined audiences by crossing boundaries—social, bodily, and physical—to produce comedies of discomfort. Drawing in part on Rebecca Wanzo’s consideration of “precarious-girl comedy” (2016) I examine how two British television comedies intensified these intimate connections through the use of direct address, binding the audience tightly to the sexual and social misadventures of their twenty-something female protagonists. Michaela Coel’s Chewing Gum (E4, 2015–2017) follows naïve and desperately horny black working-class Londoner Tracey in her quest for sexual experience, and Phoebe-Waller Bridges’ Fleabag (BBC Three, 2016–) documents an unnamed upper-middle-class white woman’s sharply misanthropic journey through grief. In both programmes direct address serves to intensify the embrace of bodily affect and intimate access to interiority found in the “precarious-girl comedy” (Wanzo, 2016), producing moments of comic and emotional repulsion. Each program uses direct address’s blend of directness and distance to different ends, but both draw audiences at times uncomfortably close to the singular perspective of their protagonists, creating an intensely affective comic intimacy.
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Casper, Vivian. "Githa Sowerby's Before Breakfast:." Eugene O'Neill Review 36, no. 1 (March 1, 2015): 48–60. http://dx.doi.org/10.5325/eugeoneirevi.36.1.48.
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Abstract Until now Eugene O'Neill's Before Breakfast was thought to have had two main sources: August Strindberg's very short play The Stronger and the autobiographical influence of O'Neill's experience during his brief marriage to Kathleen Jenkins. This essay argues for a third major inspiration, the 1912 one-act comedy by Githa Sowerby with the same title, written a few years before O'Neill's one-act tragedy. Both plays present misalliances: Sowerby's play is told from the viewpoint of a young, upper-class English gentleman who narrowly avoids a marital misalliance with a lower-class actress, and O'Neill's play flips the viewpoint to present that of a lower-class wife, who has made a tragically unhappy marriage with an American writer who is above her in social class. Extended monologue is used importantly in all three plays. How O'Neill may have become aware of Sowerby's play is carefully examined, and factors are explained that account for its heretofore unrecognized influence on O'Neill.
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Indizio, Giuseppe. "Dante as a Florentine lyrical author." Forum Italicum: A Journal of Italian Studies 55, no. 2 (June 23, 2021): 269–95. http://dx.doi.org/10.1177/00145858211022644.
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As one of the outstanding authors of medieval literature, Dante Alighieri has enjoyed seven centuries of close scholarly attention. 1 The immense success of his Comedy has prompted some modern Dante scholars to assume that such success came easily during his life, even though the Comedy was fully issued only after the poet’s death. Similar claims for rapid success are also made for the Vita nuova and some of Dante’s lyric poetry. However, although much ancient source material has been lost, the surviving evidence does not support the view that success came to Dante during his life. Close scrutiny of the manuscript sources suggests a quite different scenario: Dante as an author had to survive in a dynamic and ruthlessly competitive environment (which, by analogy with the theory of natural selection, may have helped to elicit his finest achievements). His goal was to persuade the highly educated and affluent Florentine upper class to abandon its attachment to the prevailing lyrical school, represented by the authoritative and apparently indomitable Guittone d’Arezzo and his followers. Only then would Dante and the new poets (the Stilnovisti) stand a chance of seeing their work collected in the prestigious and expensive canzonieri. Probably, on the evidence of the surviving collections and other manuscripts (Escorialense, Laur. Martelli 12, etc), Dante did not fully achieve his goal — a situation which changed, dramatically, only after the Comedy was published.
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Doyle, Barry M. "Urban Liberalism and the ‘lost generation’: politics and middle class culture in Norwich, 1900–1935." Historical Journal 38, no. 3 (September 1995): 617–34. http://dx.doi.org/10.1017/s0018246x00020008.
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ABSTRACTThis article utilizes the metaphor of the post-war Lost Generation to investigate the chronology of middle class political realignment and Liberal decline. It suggests that the Liberalism of twentieth-century Norwich owed its existence to the perpetuation of a closed culture based on business, chapel and urban residence. It questions the degree to which dissenting Liberals had been assimilated into the dominant ideology before 1914 by reference to marriage ties and associational links such as the freemasons. It asserts that the downfall of this Liberal culture in the long run, though not immediately, was the result of the Great War, which allowed the younger generation to break out of their insular world and mix more freely with the Anglican upper-middle class. However, it also demonstrates that the closed culture was such that those of the Edwardian political generation, although affected by the War, did not reject their Liberalism. Most continued to actively support the party into the 1930s, questioning the view that the middle classes had largely deserted the Liberals by 1924. Rather, it was the political maturation in the 1930s of the War generation which heralded the end of urban Liberalism and the triumph of middle class Conservatism.
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Bar-Haim, Shaul. "The liberal playground." History of the Human Sciences 30, no. 1 (February 2017): 94–117. http://dx.doi.org/10.1177/0952695116668123.
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The Cambridge Malting House, an experimental school, serves here as a case study for investigating the tensions within 1920s liberal elites between their desire to abandon some Victorian and Edwardian sets of values in favour of more democratic ones, and at the same time their insistence on preserving themselves as an integral part of the English upper class. Susan Isaacs, the manager of the Malting House, provided the parents – some of whom were the most famous scientists and intellectuals of their age – with an opportunity to fulfil their ‘fantasy’ of bringing up children in total freedom. In retrospect, however, she deeply criticized those from their milieu for not fully understanding the real socio-cultural implications of their ideological decision to make independence and freedom the core values in their children’s education. Thus, 1920s progressive education is a paradigmatic case study of the cultural and ideological inner contradictions within liberal thought in the interwar era. The article also shows how psychoanalysis – which attracted many progressive educators – played a crucial role in providing liberals of all sorts with a new language to articulate their political visions, but, at the same time, explored the limits of the liberal discourse as a whole.
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Vysokovich, Ksenia. "«SOCIAL» COMEDIES IN THE WORKS OF N. I. KHMELNITSKY." Ivanovo state university bulletin. Series «The Humanities», no. 3 (October 1, 2020): 12–19. http://dx.doi.org/10.46726/h.2020.3.2.
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The article deals with the «social» comedies of one of the most famous playwrights at the turn of the 1810s—1820s N. I. Khmelnitsky. The main attention is paid to the analysis of the plot features, as well as the main characteristics of the character. The comedies are considered in a chronological order: «The Talker» (1817), «Сastles in the Air » (1818), «Indecisive, or Seven Fridays in the week» (1820), «A social occasion» (1826), «Mutual trials» (1826—1829). Mostly Khmelnitsky borrowed the plots of his comedies from French authors, breathing new life into their texts. Khmelnitsky made the characters of his comedies speak using very elegant language of the upper-class society to which he himself belonged to. Working at Russian re-adaptations of French comedies, Khmelnitsky thoroughly reduced the original, removing unnecessary details and minor events, and left only the main intrigue, which is based on a vaudeville situation-misunderstandings. In this plan he put forward one character, one image, reinforcing and sometimes exaggerated his or her inherent traits according to this principle is built a comedy «The Talker», «Сastles in the Air», «Indecisive, or Seven Fridays in the week». The two remaining comedies are built differently, a love the intrigue is moved to the foreground in them.
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Babenko, Oksana Vasil'evna. "The origins of Russian Opera as the key to understanding modern opera art." Культура и искусство, no. 8 (August 2020): 76–86. http://dx.doi.org/10.7256/2454-0625.2020.8.33608.
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The subject of this research is the origins of Russian Opera and its evolution. The grounds of Russian Opera can be observed in folk and Church rites of the Ancient Rus’. The origins of Russian Opera stem from the Middle Ages, when the cantatory tradition formed under the impact of Byzantine and Russian folk traditions. The folk-Church events of the XVI – XVII centuries contained the theatrical elements, which later on were incorporated by the professional musical theater. Until the XVIII century, theatrical performances were open only to royalty and upper class society. The first theatre in Russia was built in 1672 for the Tsar and received a name “The Comedy Mansion”. It staged operas on the Biblical themes. The first secular operas appeared in the second half of the XVIII century. In 1756, the Empress Elizabeth of Russia turned the theater into a state and public institution. Russian operas of that time mirrored the Western models to a large extent. The emergence of truly national operas is related to the name of M. I. Glinka (1804-1857). The conclusion is made that modern Opera borrowed the principles of nationalism and humanism from its precursors. The author draws parallels between the first operas, classical Russian Opera on the one hand, and modern Russian Opera on the other. Analysis is carried out on the origin of the plots and libretto of the operas. P. I. Tchaikovsky, M. P. Mussorgsky, A. P. Borodin, N. A. Rimsky-Korsakov, S. V. S. V. Rachmaninoff, S. S. Prokofiev, D. D. Shostakovich and others, same as the inventors of the opera, wrote their operas based on literary and historical storylines.
Books on the topic "Edwardian upper class comedy"
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MacColl, Gail. To marry an English Lord: The Victorian and Edwardian experience. London: Sidgwick & Jackson, 1989.
Find full textBook chapters on the topic "Edwardian upper class comedy"
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Bartlett, Mackenzie. "‘The crowd would have it that I was a hero’: populism, New Humour and the male clerk in Marsh’s Sam Briggs adventures." In Richard Marsh, popular fiction and literary culture, 1890-1915. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526124340.003.0006.
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This chapter situates the adventures of Marsh’s male clerk Sam Briggs (1904–1915) within the context of the ‘New Humour’ of the late-Victorian and Edwardian periods, in order to explore the intersections between populism, comedy and mass readership at the turn of the twentieth century. Specifically, the chapter examines how Marsh tapped into the burgeoning lower-middle-class literary marketplace by deploying slapstick, satire and farce to interrogate some of the most pressing issues of his day, including the expansion of London and the effects of suburban sprawl, the ambiguous social and economic position of the male clerk, the crisis in masculinity, the contentious debates about evolution and degeneration, the rapid advancements in industry and technology and the profound consequences of the First World War.
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El-Burki, Imaani Jamillah, and Rachel R. Reynolds. "It's No Secret Justin Wants to Be Black." In Advances in Human and Social Aspects of Technology, 15–28. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0212-8.ch002.
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Research shows that media representations of race, gender and social class designed for consumption by the millennial generation create a world of symbolic equality via narratives of racial harmony, female empowerment and forms of exaggeration where everyone seems to have a middle and or upper middle class quality of life. In general, the changing face of diversity as represented in media has been cast as a neoliberal politic, where ideologies of free markets are extended into representing a sense of equality among individuals and their respective social groups. While scholars have investigated exaggerated representations of inclusivity in a variety of media genres, there is limited scholarship investigating the ways in which comedy serves the neoliberalist agenda. Comedy Central's Roast of Justin Bieber aired March 2015 and has been replicated in multiple forms. The current study is an in depth discourse and content analysis of the racial and gender jokes appearing in this program. It concludes that what appears to be a move beyond race is instead working against a post-race reality.
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Faucher, Charlotte. "Gender and High-Society Cultural Diplomacy, 1900–1913." In Propaganda, Gender, and Cultural Power, 45–75. British Academy, 2022. http://dx.doi.org/10.5871/bacad/9780197267318.003.0003.
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This chapter examines the creation and rise of a new diplomatic practice: high-society cultural diplomacy. This original strategy exploited long-standing ideas about a ‘French singularity’ among upper- and upper-middle-class British audiences, echoing essentialist discourses that suggested that France was at the pinnacle of polite society. In Edwardian Britain, forms of French bourgeois leisure became tools for presenting a positive, and often gendered image of France to an elite audience. In particular, salon-like events that reproduced practices implemented in France (at Yvonne Brisson's Université des Annales for example) were central to high-society cultural diplomacy. The female diplomats who employed this strategy, in particular Marie d'Orliac, engaged with the cultural and social aspirations of some pockets of the British elite and channelled their enduring Francophilia. At the same time, high-cultural diplomacy had a policing effect on French arts in Britain. When French cultural productions failed to project an image of polite, bourgeois France, champions of high-society cultural diplomacy intervened to limit their dissemination in Britain. High-society cultural diplomatic practices were certainly divisive, yet they defined a blueprint that many stuck to or drew inspiration from until the end of the Second World War.
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Brassett, James. "The Satire Boom: Imperial Decline and the Rise of the Everyday Elite." In The Ironic State, 37–56. Policy Press, 2021. http://dx.doi.org/10.1332/policypress/9781529208450.003.0003.
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This chapter examines the ‘satire boom’ in the 50s and 60s which saw popular Oxbridge review style acts like Beyond the Fringe achieve national and international fame with an elevated style of humour. Subjects included the nature of War, the relevance of language philosophy, the class system and the rise of radical political agendas like socialism and anti-colonial struggles. The style of comedy also allowed for a re-orientation of satire to focus on politics and politician; lampooning them for their stupidity, or their corrupt nature in manner that gained massive public interest. A new kind of upper class, educated satire, with incisive political critique and bon mots, was erected. Despite the tendency of satire to challenge and critique accepted political hierarchies, i.e. empire, the class structure, and government, many argue that we must recognise how closely the satirists themselves resembled their target. These were satires of the British elite that came from within: a select group of white males, often private school and Oxbridge educated, with a certain post-imperial world view.