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Journal articles on the topic 'English comedy'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 January 2023

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1

Putri, Maharani Widya, Erwin Oktoma, and Roni Nursyamsu. "FIGURATIVE LANGUAGE IN ENGLISH STAND-UP COMEDY." English Review: Journal of English Education 5, no. 1 (December 1, 2016): 115. http://dx.doi.org/10.25134/erjee.v5i1.396.

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This descriptive qualitative research was about the analysis of figurative language in English stand-up comedy. The purposes of this study were to identify the types of figurative language and to describe the functions of figurative language found in the selected video of stand-up comedy show. The data source was taken from one of selected videos of Russell Peters stand-up comedy show. Russell Peters’s speech contained about figurative language in the video is observed. The data were collected through content analysis technique by collecting the verbal language used by Russell Peters. The first research questions was analyzed by McArthur (1992) theory and supported by Crystal (1994) theory to find out the types of figurative language found in English stand-up comedy. To answer the second research questions about the functions of figurative language found in English stand-up comedy was analyzed by Chunqi (2014) theory and suppoted by Kokemuller (2001) theory and Turner (2016) theory. After analyzing data, it was found that Irony was the most dominant figurative language used by Russell Peters in “Russell Peters Comedy Now! Uncensored” with 29.94%. It was happened because the kind of topics used by Russell Peters in that show were about ethnics (canadian, white people, black people, brown people and asian), society case (beating child) and culture (accent and life style of various ethnics in the world, habitual of various ethnics in the world). Irony and Hyperbole were needed dominantly in the performance, to entertain the audiences in the stand-up comedy show. The function of eleven types of figurative language which were used by Russell were concluded. The functions were to amuse people in comedic situations, to expand meaning, to explain abstract emotions, to make sentence interesting represented and give creative additions. Keywords: Figurative Language, Stand-Up Comedy, English Stand-Up Comedy

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2

Ritchie, Chris, and James Harris. "No Laughing Matter?A Short History of German Comedy." Scenario: A Journal of Performative Teaching, Learning, Research I, no. 2 (July 1, 2007): 68–83. http://dx.doi.org/10.33178/scenario.1.2.6.

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This article is the first stage of research for the book “No Laughing Matter: A Short History of German Comedy’ by Chris Ritchie and James Harris which will look at some key moments in German comedy, representations of Germans in English language comedy and ’and also take a look at the current Berlin comedy scene. It begins with an example of how the British, or particularly the English, represent the ‘comedy German’, and is followed by an overview of some key moments in the history of German comedy, in particular the work of Hans Sachs and the development of 20th century cabaret. The second section then looks at how the Germans view English comedy through an analysis of the sketch Dinner for One and Monty Python’s German-language episode. This article is the first stage of research for the book “No Laughing Matter: A Short History of German Comedy’ by Chris Ritchie and James Harris which will look at some key moments in German comedy, representations of Germans in English language comedy and ’and also take a look at the current Berlin comedy scene. It begins with an example of how the British, or particularly the English, represent the ‘comedy German’, and is followed by an overview of some key moments in the history of German comedy, in particular the work of Hans Sachs and the development of 20th century cabaret. The second section then looks at how the Germans view English comedy through an analysis of the sketch Dinner for One and Monty Python’s German-language episode.

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3

Dumas, Nathaniel W. "“This guy says I should talk like that all the time”: Challenging intersecting ideologies of language and gender in an American Stuttering English comedienne's stand-up routine." Language in Society 45, no. 3 (May 4, 2016): 353–74. http://dx.doi.org/10.1017/s0047404516000233.

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AbstractAmerican Stuttering English (ASE) speakers (or ‘persons who stutter’ in pathological perspectives) have historically had tense relationships with comedic representations of their speech. Mainstream representations pathologize and ridicule stuttering, rather than appreciate it as a legitimate language variety. These depictions also increase non-ASE speakers' ‘possessive investment’ (Lipsitz 1995) in Standard American Fluent English as the dominant language variety. Recently, some ASE speakers have reinterpreted ASE and comedic portrayals of their speech using stand-up comedy. This article analyzes the comedic work of Rona B, an ASE comedienne. Using data on her YouTube channel, I argue that Rona B draws on her intersectional experiences as a female ASE speaker to construct a voice that critiques both the political agendas of anti-linguistic discrimination, which downplays gender, and of antisexism, which minimizes sociolinguistic differences. This study expands on contemporary calls in sociolinguistics that position intracategorical intersectionality as key for analyzing performances on language variation. (Gender, variation, American Stuttering English, performance, stand-up comedy, language ideologies)*

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4

Zupančič, Alenka, and Natasha Stojanovska. "On Love as Comedy." Identities: Journal for Politics, Gender and Culture 2, no. 1 (January 1, 2003): 61–80. http://dx.doi.org/10.51151/identities.v2i1.88.

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Author(s): Alenka Zupančič | Аленка Зупанчич Title (English): On Love as Comedy Title (Macedonian): За љубовта како комедија Translated by (English to Macedonian): Natasha Stojanovska | Наташа Стојановска Journal Reference: Identities: Journal for Politics, Gender and Culture, Vol. 2, No. 1 (Summer 2003) Publisher: Research Center in Gender Studies - Skopje and Euro-Balkan Institute Page Range: 61-80 Page Count: 19 Citation (English): Alenka Zupančič, “On Love as Comedy,” Identities: Journal for Politics, Gender and Culture, Vol. 2, No. 1 (Summer 2003): 61-80. Citation (Macedonian): Аленка Зупанчич, „За љубовта како комедија“, превод од англиски Наташа Стојановска, Идентитети: списание за политика, род и култура, т. 2, бр. 1 (лето 2003): 61-80.

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5

Subarno, Anton, Wen-Fu Pan, and Mei-Ying Chien. "The Effects of Audio Comedy Test on Listening Comprehension Skills of EFL Learners." Journal of Education and Culture Studies 3, no. 2 (April 6, 2019): 90. http://dx.doi.org/10.22158/jecs.v3n2p90.

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<p class="Abstract"><em>This study aims to investigate the effects of audio comedy on English listening comprehension test results of English as a Foreign Language (EFL) learners. The English listening test comprises four sections; each section has a seven-minute comedy audio mode and 13 questions, and participants listen to the four sections successively. This study was conducted with 117 sophomore, junior and senior students at Sebelas Maret University in Indonesia. Two-way Analysis of Variance (ANOVA) was adopted to distinguish between male and female students on the four successive test sections measuring English listening comprehension skills. The findings are: 1. Successive practice tests will stimulate English listening skills; and 2. Successive practice tests will improve students’ English listening skills. The comedy audio mode creates a low-stress English listening atmosphere and reduces the learner’s anxiety.</em></p>

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6

Solomon, Diana. "Sancho Panza in Eighteenth-Century English Theater: Disrupting the Path of the English Knight-Errant." Eighteenth-Century Life 46, no. 3 (September 1, 2022): 123–43. http://dx.doi.org/10.1215/00982601-9955364.

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Widely translated and adapted in eighteenth-century England, Don Quixote inspired some of the period's greatest fiction. Yet while literary adaptations of Cervantes's novel often render its humor “amiable” and accommodate it to polite society, dramatic adaptations instead accentuate its low comedy and farce. This paper argues that dramatic entertainments should factor into discussions of the novel's extraordinary influence in eighteenth-century England. Thomas D'Urfey's popular trilogy, The Comical History of Don Quixote (1694–95), and several of its successors augment the base characteristics of Sancho and employ physical violence and cruelty to women and lower characters, showing that low comedy thrived in not only marginalized genres like jestbooks and comic illustrations, but also popular drama.

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7

Rahmi, Awliya. "JOKE STRATEGIES IN AMERICAN SITUATIONAL COMEDY “HOW I MET YOUR MOTHER”." JURNAL ARBITRER 4, no. 1 (August 8, 2017): 38. http://dx.doi.org/10.25077/ar.4.1.38-51.2017.

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The research discusse joke strategies in American situational comedy How I Met You Mother (HIMYM). The purpose of this research is to identify; (1) the joke strategies in situational comedy HIMYM (2) The pragmatic meaning of jokes that are expressed by the characters in HIMYM AND (3) Pragmatic prank functions that are expressed by the characters in HIMYM. This research is categorized as descriptive linguistic research. Observation method applied in data collection, while the method of distribution and matching applied in analyzing data. The results of this research data analysis is presented using informal and formal methods. From the results of data analysis found 14 strategy joke uttered by characters in a situational comedy American HIMYM, namely: ambiguity, grammar, syllabics, idiomatics, questionable English, antonymics, style, negativism, lexicography, spelling, punctuation, Rhyming English, numerical English And part of speech. The dominant strategy used is ambiguity because there are many words in English that mean more than one and are likely to lead the listener to multiple interpretations. The jokes uttered by the characters in situational comedy HIMYM have assertive, expressive and directive meanings. Moreover, the joke also serves to show the power, solidarity and psychological defense of the speaker.

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8

Santoyo, Julio César. "Translatable and untranslatable comedy: the case of English and Spanish." Estudios Humanísticos. Filología, no. 9 (December 1, 1987): 1. http://dx.doi.org/10.18002/ehf.v0i9.4355.

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9

Stuart, Ian. "Revisiting ‘The Sea’: Bond's English Comedy in Toulouse." New Theatre Quarterly 15, no. 2 (May 1999): 178–82. http://dx.doi.org/10.1017/s0266464x00012859.

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Edward Bond's The Sea was first presented at the Royal Court Theatre under William Gaskill's direction in 1973, and later confirmed as a modern classic in its revival in 1991 at the National Theatre– where it was claimed that it could only have been written by an Englishman. But, as La Mer, it was chosen to open the Thėâtre de la Citė in Toulouse, where Bond scholar and editor Ian Stuart saw Jacques Rosner's production in October, and here reports on the resultant meeting between an English comedy and ‘French serenity’.

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10

HUNT, MAURICE. "Slavery, English Servitude, and The Comedy of Errors." English Literary Renaissance 27, no. 1 (January 1997): 31–56. http://dx.doi.org/10.1111/j.1475-6757.1997.tb01099.x.

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11

Ingram, Allan, and Glen Cavaliero. "The Alchemy of Laughter: Comedy in English Fiction." Modern Language Review 97, no. 4 (October 2002): 925. http://dx.doi.org/10.2307/3738622.

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12

Asst. Prof. Ali Mohammed Segar. "Characteristics of Tragi-Comedy in Charles Dickens's Novel Oliver Twist." journal of the college of basic education 26, no. 106 (March 1, 2020): 1–19. http://dx.doi.org/10.35950/cbej.v26i106.4879.

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The English novelist Charles John Hoffman Dickens (1812-1870) is well known for scholars and students of English literature. His name is always accompanied to some( classics) in the history of the English novel such as: ( Oliver Twist( 1839), David Copperfield (1850), Hard Times ( 1854 ), The Tale of Two Cities ( 1859 )Great Expectations (1860) and other novels. He is one of the most professional novelists of the Victorian age; rather, he is regarded by many critics as the father of the realistic trend and the greatest novelist of his age. In his fiction, Dickens created some of the world's best-known fictional characters that became prototypes not only in English but in world literature as well. Oliver Twist presents a unique depiction of evil and good characters in English society through a highly serious and powerful conflict full of dramatic events like a traditional tragedy, but the line of action turns to satisfaction and happy end just like a work of comedy. This paper claims that the novelist employs the dramatic genre: Tragi-comedy into a novel by mixing elements of both tragedy and comedy. Although the action in the novel is highly tragic and full of miseries and evil plots, the novel ends happily.

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13

McKenzie, Rory. "Italy’s ragioniere? The national and international relevance of Ugo Fantozzi." Journal of Italian Cinema & Media Studies 9, no. 2 (March 1, 2021): 245–60. http://dx.doi.org/10.1386/jicms_00064_1.

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Ugo Fantozzi was given life by author and actor Paolo Villaggio in the late 1960s. Inarguably a staple figure within Italian comedy and society, this character remains relevant in modern-day society despite the last film being released in 1999. The Italianità of the Fantozzi series, partially based on people from Villaggio’s life, is unmistakeable. In this article, the Fantozzi films are analysed to show how Fantozzi can be considered so uniquely Italian through many of the themes, dialogue and references to society and culture, yet, at the same time, a universal comedic figure who shares many traits with very well-known and well-regarded British and American television comedy series. Fantozzi, however, never made it to English-speaking shores. While it is likely we will never know the success the franchise could have had, this article shows that it had every possibility of being a success.

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14

Seth, Amoah. "The Role of Cooperative Principles and Presupposition as Comic Generators in a Ghanaian English Comedy: A Case Study of Nurse Awuni’s Youtube Video." Journal of English Language Teaching and Applied Linguistics 3, no. 5 (May 29, 2021): 01–09. http://dx.doi.org/10.32996/jeltal.2021.3.5.1.

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Comedy is a common genre but quite complex to analyze linguistically. It consists of enormous discourse considered humorous or amusing by causing laughter in any entertainment medium. Several studies have investigated the relationship between comedy and cooperative principles in the analysis of everyday interaction. However, little attention has been paid to the role of cooperative principles and presupposition as comic generators in areas such as mass or social media, particularly on YouTube. This study concentrates on the analysis of extracts from a Ghanaian comedy on YouTube, Nurse Awuni, which give rise to humor by identifying the violation of Grice`s (1975) cooperative principles and its maxims employed by the characters. It attempts to answer the following research questions. First, how often are Grice`s (1975) cooperative principles and its maxims employed, flouted or violated in the Nurse Awuni`s comedy? And What is the role of conversational implicature and presupposition as comic generators in the Nurse Awuni`s comedy? Quantitative analysis with a collection of empirical data has been followed to analyze the violation and keeping of the cooperative principles, maxims and presupposition, and conversational implicature of the Nurse Awuni`s comedy from a strictly linguistic and pragmatic perspective. From the results, it is evident that interlocutors sometimes deliberately flout the conversational maxims so as to create comedy in different conversational effects such as humor, sarcasm, irony, insults etc. Again, a comedian may constantly digress from the subject and content of conversation to make him, or her appear naive and create an awkward situation by saying something narrow-minded. Moreover, the research investigated presupposition as a crucial comedy generator. Finally, the results indicate that the use of conversational implicature and its maxims is much more abundant than the use of presupposition.

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15

Viator, Timothy J., and Brian Corman. "Genre and Generic Change in English Comedy, 1660-1710." South Atlantic Review 60, no. 1 (January 1995): 189. http://dx.doi.org/10.2307/3200738.

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16

Mills, B. "A National Joke: Popular Comedy and English Cultural Identities." Screen 50, no. 2 (June 1, 2009): 263–66. http://dx.doi.org/10.1093/screen/hjp008.

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17

NELSON, T. G. A. "THE IMAGE OF THE CHILD IN ENGLISH RESTORATION COMEDY." Journal of the Australasian Universities Language and Literature Association 67, no. 1 (May 1987): 102–14. http://dx.doi.org/10.1179/aulla.1987.67.1.007.

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18

Lund, Roger D., and Brian Corman. "Genre and Generic Change in English Comedy, 1660-1710." Albion: A Quarterly Journal Concerned with British Studies 27, no. 1 (1995): 124. http://dx.doi.org/10.2307/4052698.

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19

Kesson, A. "Was Comedy a Genre in English Early Modern Drama?" British Journal of Aesthetics 54, no. 2 (April 1, 2014): 213–25. http://dx.doi.org/10.1093/aesthj/ayu035.

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20

Sadlek, Gregory M. "Laughter, game, and ambiguous comedy in theSouth English Legendary1." Studia Neophilologica 64, no. 1 (January 1992): 45–54. http://dx.doi.org/10.1080/00393279208588085.

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21

Bates, Catherine. "Widows and Suitors in Early Modern English Comedy (review)." University of Toronto Quarterly 75, no. 1 (2006): 247–48. http://dx.doi.org/10.1353/utq.2006.0008.

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22

Pite, R. "Review: The Alchemy of Laughter: Comedy in English Fiction." Review of English Studies 53, no. 209 (February 1, 2002): 164–66. http://dx.doi.org/10.1093/res/53.209.164.

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23

Omoko, Peter E., Emmanuel A. Mede, and Monday O. Akpojisheri. "The socio-political aesthetics of Nigerian Pidgin in stand-up comedy and popular music." Tropical Journal of Arts and Humanities 3, no. 2 (2021): 42–51. http://dx.doi.org/10.47524/tjah.v3i2.43.

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This paper examines the place of the Nigerian Pidgin in Stand-up comedy and popular music in Nigeria and foregrounds the socio-political tempers inherent in them. It explores the peculiar language features that have not only made stand-up comedy and popular music in Nigeria a national artistic brand but an international phenomenon that has endeared the Nigerian artists to global audiences. The paper adumbrates the fact that one of the most significant features of Nigerian stand-up comedy and popular music is the use of the English-lexifier of the Nigerian pidgin. The Nigerian pidgin is a domesticated version of the English language which has become a recurrent motif, both in the performance of telling jokes by Nigerian stand-up comedians as well as in the lyrics and metaphors of popular musicians. The paper establishes that by appropriating the linguistic elements of the Nigerian pidgin in their works, the artists not only employ syntactic features but adopt various rhetorical strategies to foreground and convey their message to the people.

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24

Wickham, Glynne, and R. D. S. Jack. "Patterns of Divine Comedy: A Study of Medieval English Drama." Modern Language Review 86, no. 1 (January 1991): 159. http://dx.doi.org/10.2307/3732110.

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25

Devlin, Diana, and Alexander Leggatt. "English Stage Comedy 1490-1990. Five Centuries of a Genre." Modern Language Review 96, no. 3 (July 2001): 778. http://dx.doi.org/10.2307/3736746.

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26

Ivanova, Svetlana Anatol'evna, and Nataliya Grigor'evna Vel'dina. "Pragmatic Specificity of the English-Language “Stand-Up Comedy” Speeches." Filologičeskie nauki. Voprosy teorii i praktiki, no. 3 (March 2020): 141–44. http://dx.doi.org/10.30853/filnauki.2020.3.30.

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27

Ulusoy, Gulin, and Muhammet Demirbilek. "The Effects of Using Situation Comedy Video on English Speaking." Anthropologist 16, no. 1-2 (July 2013): 351–61. http://dx.doi.org/10.1080/09720073.2013.11891362.

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28

Hirsch, Lily E. "Some Other Note: The Lost Songs of English Renaissance Comedy." Journal of Musicological Research 38, no. 3-4 (August 28, 2019): 357–58. http://dx.doi.org/10.1080/01411896.2019.1655693.

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29

Happé, Peter. "Theatricality in Classical Comedy and the English Interlude: Jack Juggler." European Medieval Drama 16 (January 2012): 99–113. http://dx.doi.org/10.1484/j.emd.5.103763.

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30

Singh, Dr Pramod Kumar. "Mahesh Dattani’s “Do the Needful”: An Unconventional Romantic Comedy." SMART MOVES JOURNAL IJELLH 8, no. 10 (October 29, 2020): 74–81. http://dx.doi.org/10.24113/ijellh.v8i10.10802.

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Mahesh Dattani is a contemporary Indian English Dramatist who gave voice to the 60 million English speakers of India through his drama. He is the first dramatist recognised for his contribution in this field. Through his plays, he raises the problems of eunuch, homosexuality, transgender, child- sexual abuse, gender-discrimination, thought towards HIV-infected people etc. To such issues, he called them ‘fringe issue’ to whom we face but never take it as a part of society. Through ‘Do the Needful’ Mahesh Dattani has presented the problems of male homosexuality. The play was broadcasted by BBC. The play ‘Do the Needful’ is actually an unconventional romantic comedy.

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31

Rahmani, Ulva Heryanti, and Siti Hanifa. "Absurdity in Madurese and English Drama: A Comparative Study." ISLLAC : Journal of Intensive Studies on Language, Literature, Art, and Culture 6, no. 1 (June 24, 2022): 128. http://dx.doi.org/10.17977/um006v6i12022p128-139.

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Comedies of different countries have their own absurdities. Absurdity is something that human often experience for searching the meaning of life. Therefore, a comparative study of literature is used in this study to compare absurdities in the comedy originating from Madura and England. The objective of this study is to find out how the absurdities are shown in the Madurese and English comedy. Then, the method of this study is qualitative method. The sources of the data of this study are Juragan Hadroh and Gara-Gara Tukang Cukur EDAN!! by Sukur CS that were performed in 2021 and are compared to George Bernard Shaw’s Too True To Be Good that was performed in 1949. This study uses theory of absurdity that can be called “the philosophy of the absurd” by Albert Camus. The data of this study are in the form of characters utterance, narrator narrations, and gestures. This study found that both of Madurese and English comedies are existed as the form of searching for the meaning of life. Absurdities that are shown by Madurese and English comedies start from the names of characters, utterances and acts of the characters.

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32

Lutzky, Ursula. "The sociopragmatic nature of interjections in Early Modern English drama comedy." Historical Pragmatics today 22, no. 2 (December 31, 2021): 225–44. http://dx.doi.org/10.1075/jhp.00054.lut.

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Abstract Interjections have been studied for all periods in the history of English, ranging from the study of Old English exclamations such as hwaet (Brinton 2017) to the pragmatic functions of forms such as oops in Present Day English (Lutzky and Kehoe 2017). The Early Modern English (EModE) period represents a turning point as it witnessed an increase in dialogic and speech-related text types, including drama comedy and trial proceedings. Nevertheless, despite recent advances in the compilation and especially the sociopragmatic annotation of corpora, EModE pragmatic markers have not been studied extensively over the last decade. This article addresses this gap by offering an investigation into the sociopragmatic nature of interjections in EModE drama comedy. It is based on the sociopragmatically annotated Drama Corpus which includes a total of 242,561 words from the period 1500 to 1760. Taking a data-driven, form-to-function mapping approach, this study explores the use of interjections in the Drama Corpus with a focus on their distribution according to sociopragmatic variables. The aim of this study is to contribute to reaching a more comprehensive understanding of pragmatic marker use in EModE.

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33

Crawford, Jason. "Shakespeare's Comedy of Judgment." Journal of Medieval and Early Modern Studies 52, no. 3 (September 1, 2022): 503–31. http://dx.doi.org/10.1215/10829636-9966107.

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Early modern English literary culture was thick with tales of divine judgment. Texts ranging from true-crime pamphlets to Thomas Beard's vast collection The Theatre of God's Judgements (1597) promised to disclose God's work in history, and they found signs of that work in stories of horrific come-uppance: usurers eaten by rats, adulterers mutilated, Sabbath-breakers struck dead. Because they were concerned with the consequences of human transgression, these tales drew heavily on the conventions of tragedy. And because they were concerned with vice and come-uppance, they also drew heavily on the conventions of comedy. They are therefore fraught with difficult questions. When is retribution hilarious, and when is it lamentable? On what imaginative and moral conditions do tragedy and comedy depend? These questions likewise haunted dramatists such as Shakespeare, who drew heavily on the literature of divine retribution for his own experiments in tragic and comic representation. His Othello, especially, is built from tales of vice and retribution, and in it Shakespeare tests the boundaries that separate justice from atrocity, comic satisfaction from tragic violence. By reading Othello alongside the literature of divine judgment, this essay makes several claims: that the hilarious come-uppances of comedy depend on certain cultural conditions; that those conditions have changed in the context of the Reformation, in ways that tales of retribution make graphically visible; and that Shakespeare responds to exactly these changes when, in his own comedy of judgment, he finds the mechanisms of comic justice collapsing.

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34

Britt, Erica. "Stylizing the preacher: Preaching, performance, and the comedy of Richard Pryor." Language in Society 45, no. 5 (November 2016): 685–708. http://dx.doi.org/10.1017/s0047404516000567.

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AbstractThis article illustrates the ‘moving parts’ involved in the stylization of the voice of the Black preacher in the comedic performances of Richard Pryor with the ultimate goal of uncovering what these linguistic features help the performer to accomplish in interaction. Overall, while Pryor often utilizes hyperbolic and exaggerated features of Black preaching traditions and potentially Southern-inflected speaking styles in his performances, I argue that he engages in a type of linguistic subterfuge, blending elements of his own voice into a more favorable depiction of a witty, street-wise preacher. In fact, stretches of working-class speech, whose features overlap considerably with Pryor's ‘stage voice’, may blur the line between Pryor's ‘own’ personal stance and that of the preacher that he is constructing. (Black preachers, performance, stylization, comedy, African American English)*

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35

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

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

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36

Double, Oliver, and Michael Wilson. "Karl Valentin's Illogical Subversion: Stand-up Comedy and Alienation Effect." New Theatre Quarterly 20, no. 3 (August 2004): 203–15. http://dx.doi.org/10.1017/s0266464x04000107.

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Admired by Brecht, yet also counting Hitler among his fans, the German cabaret performer Karl Valentin remains an enigmatic figure for most English-speaking theatre people; and his accommodation as a licensed jester during the Nazi years has reinforced the received wisdom that his comedy was ultimately offering reassurances of their own supremacy to bourgeois audiences. Here, Oliver Double and Michael Wilson outline Valentin's life and career, and offer an analysis of his performance style closely linked to two of his best-known routines, which are here also translated for the first time into English. They conclude that Valentin's idiosyncratic style of surreal logic had an effect akin to that of Brecht's Verfremdung, of making the familiar strange, and so, while often extremely funny in its unexpected dislocations, never offering a simple view either of comedy or of life. Oliver Double worked as a comedian for ten years on the alternative comedy circuit, was formerly proprietor and compère of Sheffield's Last Laugh Comedy Club, and is the author of Stand-Up! On Being a Comedian (Methuen, 1997). Currently he lectures in Drama at the University of Kent at Canterbury. Mike Wilson, whose background is in community theatre, is now Professor of Drama and Field Leader for Performing Arts and Film at the University of Glamorgan. He has published widely on varying aspects of storytelling practice and, in particular, on teenage storytelling culture, notably in Performance and Practice: Oral Naratives Among Teenagers in Britain and Ireland (Ashgate, 1997). His latest book, Theatre, Acting, and Storytelling will be published by Palgrave in 2004.

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Schouela, Jeffrey M. "Learning Through Laughter: The Integration of Comedy Into the Academic Curriculum." LEARNing Landscapes 15, no. 1 (June 23, 2022): 311–22. http://dx.doi.org/10.36510/learnland.v15i1.1062.

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How can comedy be used as an effective tool and truly help innovate the learning experience? This paper outlines how aspects of comedy have been creatively integrated into primary and secondary academic curricula such as English Language Arts, social studies, drama, as well as in areas of mental health and wellness. The essay demonstrates, for example, how participating in stand-up performances helped sharpen students’ critical thinking abilities and presentation skills. It also underscores comedy’s pedagogical utility and versatility, its value in the classroom, and its promising potential as a stand-alone option in the domain of arts education.

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Stupnytska, H. I. "INTERPRETATION OF THE FEMALE IMAGES IN ENGLISH, GERMAN AND UKRAINIAN COMEDY." Lviv Philological Journal, no. 11 (2022): 229–35. http://dx.doi.org/10.32447/2663-340x-2022-11.34.

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Mackey, Barbara. "English Stage Comedy 1490-1990: Five Centuries of a Genre (review)." Theatre Journal 54, no. 2 (2002): 333–34. http://dx.doi.org/10.1353/tj.2002.0050.

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Paul, Subin. "A new public sphere? English-language stand-up comedy in India." Contemporary South Asia 25, no. 2 (April 3, 2017): 121–35. http://dx.doi.org/10.1080/09584935.2017.1321618.

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Jabłońska-Hood, Joanna. "How do the English Project Themselves? Notes on the Selfhood and Identity Referring to the English, as Seen From the Perspective of Humour Studies." Przegląd Humanistyczny, no. 2-2020 (August 9, 2020): 19–48. http://dx.doi.org/10.31338/2657-599x.ph.2020-2.2.

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English humour is religiously involved in the creation of the English identity drawing on the nation’s memory, history as well as culture. A great deal of it is devoted to the preservation of a certain self-portrait on the part of the English in that their identity is glorified, demonstrated in a positive light, with the English invariably playing a noble role against the backdrop of historical events, frequently standing alone in the presence of traumatic and unpredictable changes. This article aims to examine English comedy from a cognitive linguistic perspective to demonstrate how the English identity is formulated and (re)shaped, and how the concept of the English self is proudly created in relation to the national identity via the cultural memories and English humour.

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Evans, James. "She Stoops to Conquer: An Irish Expatriate Comedy." Restoration and Eighteenth-Century Theatre Research 32, no. 1 (2017): 7–19. http://dx.doi.org/10.5325/rectr.32.1.0007.

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Abstract Oliver Goldsmith’s representation of two English gentlemen visiting a country house allegorizes Irish expatriate experience in She Stoops to Conquer. The play mocks a distinctive urban masculinity, the macaroni, by showing how ridiculous such fashionable characters become when removed from London. Resembling expatriates in this new, uncomfortable setting, the self-exiled gentlemen prompt Tony Lumpkin’s waggery, which is enhanced by Kate Hardcastle’s mockery of Marlow, her prospective husband. Goldsmith adapted elements of his plot from The Beaux Stratagem, a comedy by his Irish expatriate precursor George Farquhar, and he also incorporates autobiographical aspects of his Irish youth and recent English past. The laughter evoked by his fine gentlemen includes self-mockery, the result of Goldsmith’s double perspective on balancing the roles of outsider and insider, comic Irishman and fashionable Londoner.

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Rooke, Deborah W. "Job’s Body and the Dramatised Comedy of Moralising." Journal of Jewish Studies 73, no. 1 (April 1, 2022): 186–89. http://dx.doi.org/10.18647/3529/jjs-2022.

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Vaseneva, Nadezhda Vladimirovna. "Reception of the B. Shaw’s play "Pygmalion" in Russian literature." SHS Web of Conferences 101 (2021): 01004. http://dx.doi.org/10.1051/shsconf/202110101004.

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The article is devoted to the analysis of reception of B. Shaw's play «Pygmalion» in Russian literature. The article emphasizes that Russian literature had a huge impact on the formation and development of B. Shaw's aesthetic system and drama, as a result of which B. Shaw's drama acquired an epic character. The standard of «epic drama» is B. Shaw's play «Pygmalion». The extreme popularity, relevance and significance of B. Shaw's comedy «Pygmalion» for Russian literature are noted. The article examines translations of B. Shaw's play «Pygmalion» and individual-author's interpretations of Russian directors of English comedy as a form of reception of B. Shaw's play in Russian literature. It is said that the plot and images of B. Shaw's play «Pygmalion» received a new life in Russian literature. The author analyzes allusions and reminiscences with B. Shaw's comedy «Pygmalion» in Soviet prose and drama of the 20th – early 21st centuries. It is proved that B. Shaw's play «Pygmalion» is characterized by a rich reception in Russian literature.

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Bebber, Brett. "The Short Life ofCurry and Chips: Racial Comedy on British Television in the 1960s." Journal of British Cinema and Television 11, no. 2-3 (July 2014): 213–35. http://dx.doi.org/10.3366/jbctv.2014.0204.

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This article analyses Curry and Chips (ITV, 1969), a situation comedy that relied heavily on racial humour to satisfy its audiences. Like other sitcoms during this era in British television, it capitalised on extant anxieties about the increasing migration of formerly colonised subjects to Britain. Johnny Speight and Spike Milligan, the programme's creators, believed that forwarding vulgar racial epithets and bigoted humour put English attitudes to immigration under examination. But the programme proved popular because of its appeal to white workers, who viewed depictions of the challenges of integrating non-white workers in a comedic context with some pleasure. Under the thin guise of political satire, the programme recirculated ethnic stereotypes and racist discourses to make its humour apparent. Audience research and letters of complaint also reveal that Curry and Chips appealed to audiences sympathetic to the racist attitudes forwarded by the programme's characters and failed to change white Britons’ perspectives on migration and integration. Because of the debate it caused about the appropriateness of its humour, Curry and Chips lasted only a single series before being banned by the Independent Television Authority. Like other forms of racial humour, the comedy resonated with working-class anxieties but negated the programme's utility as progressive parody.

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Ogoanah, Felix Nwabeze, and Fredrick Osaro Ojo. "A multimodal generic perspective on Nigerian stand-up comedy." European Journal of Humour Research 6, no. 4 (December 30, 2018): 39. http://dx.doi.org/10.7592/ejhr2018.6.4.ogoanah.

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Studies in stand-up comedy in Nigeria have recently begun to gain serious attention. Several articles that describe the psychological and socio-cultural contexts of joke texts of stand-up comedy in Nigeria have appeared within the last few years (Orhiunu 2007; Imo 2010; Adetunji 2013; Filani 2015, 2016, etc.). However, one aspect of the phenomenon that is yet to be explored is the function of a multimodal generic framework and its contributions to the humorous content of the genre. While it is important to maintain the spoken text as many writers have done, the “multiple embodied modes” (Norris 2008: 13) that amplify the spoken text must be given due consideration. This study, therefore, examines the Nigerian stand-up comedy from the perspective of a multimodal-ESP theory to genre analysis. This theory takes cognizance not only of joke-texts, but also the visual features that enhance the performance. The material for analysis is videoed data of a popular stand-up comedy show in Nigeria, “A Nite of a Thousand Laugh.” The study demonstrates that stage management, nonverbal cues (e.g. gesture, movements, and gaze), speeches, body postures, and music/sounds contribute to the communicative value and the production of the genre. Also, it shows how plausible multimodal-ESP approach to genre is in the description of stand-up comedy in the Nigerian context and how the knowledge can be integrated into the teaching and learning of technology-mediated communications (TMC), such as using English for entertainment purposes.

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Alnusairat, Suhib A., and Paramaswari a/p Jaganathan. "Humour in Translation From English Into Arabic: Subtitles of the Comedy Sitcom Friends." Theory and Practice in Language Studies 12, no. 7 (July 4, 2022): 1447–56. http://dx.doi.org/10.17507/tpls.1207.27.

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This study aims to investigate the translation methods and strategies used in the Arabic subtitling of English sitcoms. The study's corpus was chosen from the popular TV show Friends. In the U.S. English version, humorous instances are discovered, identified, and divided into three categories according to Debra and Raphaelson-West's (1989) humour taxonomy. The eight strategies for translating cultural jokes outlined by Tomaszkiewicz (1993) and cited in Díaz-Cintas (2009), were adopted for the framework of the study to analyse the strategies applied in rendering humorous expressions in Arabic subtitling for English sitcoms. The findings revealed that universal jokes are easily transferred into different languages; however, linguistic and cultural jokes are difficult to translate due to language and cultural differences. Based on this study’s findings, formal translation was found to be the most utilized strategy in subtitling from English into Arabic. Besides formal translation, a functional strategy was also used in many cases. This study also implies that to successfully translate cultural jokes, it is preferable to develop humour in accordance with the visual setting of the film and then domesticate the translation.

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Bonda, Moreno. "THE EARLIEST ITALIAN TRANSLATIONS OF JOHN MILTON ’S “PARADISE LOST”: FAILED ATTEMPTS AND DANTESQUE INFLUEN CES." Vertimo studijos 10, no. 10 (January 18, 2018): 76. http://dx.doi.org/10.15388/vertstud.2017.10.11286.

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This paper deals with the history of translation in the 18th and 19th centuries. It investigates the reasons behind six unsuccessful attempts to translate John Milton’s Paradise Lost (1667) into the Italian language. We hypothesise that the problem was the rendering of unusually marked lexical, thematic, stylistic and rhythmical analogies with Dante’s Comedy and, mainly, with its sources. Adopting Antonio Bellati’s Italian translation (1856) as an indicator, our study focuses on problematic aspects intrinsic to the English poem. Specifically, we suggest that the challenge was the transposition of Paradise Lost’s peculiar mixture of style and meter: the blank verse of a Christian epic poem. This uniqueness rendered it too similar to Dante’s Comedy. Likewise, the setting and the subject matter of the English poem were too adherent to that of both Dante and Virgil’s Aeneid (one of Dante’s main sources). Finally, it might have been difficult to translate Milton into Italian because the English poet openly imitates the Italian epic style, its rhythmical and lexical choices. We conclude that it might have been arduous to avoid even more marked Dantesque influences in an Italian translation. In other words, this study depicts an unusual traductive instance of “excess of equivalence” for lexical and culturally specific items.

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Sokolyansky, M. "On varieties of the title in the English translations of Griboyedov’s comedy." Alfred Nobel University Journal of Philoligy, no. 14 (2017): 65–69. http://dx.doi.org/10.32342/2523-4463-2017-0-14-65-69.

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Vander Motten, J. P. "Alexander Leggatt, English Stage Comedy 1490-1990. Five Centuries of a Genre." Documenta 19, no. 3 (June 5, 2019): 198–200. http://dx.doi.org/10.21825/doc.v19i3.11384.

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