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Relevant bibliographies by topics / English drama Comedy

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Academic literature on the topic 'English drama Comedy'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "English drama Comedy"

1

Shell, Alison. "Priestly playwright, secular priest: William Drury’s Latin and English drama." Sederi, no. 31 (2021): 117–45. http://dx.doi.org/10.34136/sederi.2021.6.

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This article examines the literary career of the secular priest William Drury, with an emphasis on his drama. The Latin plays which he wrote for performance at the English College in Douai are among the best-known English Catholic college dramas of the Stuart era; markedly different from the Jesuit drama which dominates the corpus of British Catholic college plays, they suggest conscious dissociation from that imaginative tradition. Hierarchomachia: or the Anti-Bishop, a satirical closet drama which intervenes in the controversy surrounding the legitimacy and extent of England’s Catholic episcopacy, can also be attributed to Drury. In both his Latin and English drama, Drury draws imaginative stimulus from his ideological opposition to Jesuits and other regulars. Yet his characteristic blend of didacticism and comedy, and his sympathy for the plight of all English Catholics—surely fomented by the death of his Jesuit brother in the notorious “Fatal Vesper”—point to broader priestly concerns.

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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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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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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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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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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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Rahmani, Ulva Heryanti, and Siti Hanifa. "Absurdity in Madurese and English Drama: A Comparative Study." Jurnal JOEPALLT (Journal of English Pedagogy, Linguistics, Literature, and Teaching) 10, no. 1 (March 29, 2022): 48. http://dx.doi.org/10.35194/jj.v10i1.1913.

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ABSTRACTComedies 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 Shawâ€™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. Â Â

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8

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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9

Fein, Susanna. "Satire, Performance, and English Rustic Comedy in Harley 2253." Chaucer Review 58, no. 3-4 (October 2023): 361–74. http://dx.doi.org/10.5325/chaucerrev.58.3-4.0361.

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ABSTRACT The scribe of Harley 2253 evidently had access to something more than just other manuscripts, culling matter also from a swirl of ephemera like loose leaves, rolls, perhaps even scrawled remnants of performance, or from authors themselves. The presence of five colorful English verse satires in Harley invites questions of performance not just of specific pieces, but also of sequenced entertainments seguing from one style, genre, and/or language to another and targeting for ridicule the monoglot English. In the phenomenon of the mocked English rustic in Harley 2253, we may glimpse a sophisticated style of entertainment in medieval halls that emerges later in the fine manner of comic low humor prevalent in Tudor and Elizabethan drama.

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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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Dissertations / Theses on the topic "English drama Comedy"

1

Al-Muhammad, Hasan. "Domestics in the English comedy : 1660-1737." Thesis, Bangor University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267347.

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González-Medina, José Luis. "The London setting of Jacobean city comedy : a chorographical study." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670278.

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Gibbons, Zoe Hope. "A dedicated follower of fashion : the ahistoric rake in Restoration literature /." Connect to online version, 2009. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2009/373.pdf.

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Hornback, Robert Borrone. "After carnival : normative comedy and the everyday in Shakespeare's England /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.

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Tanner, Jane Hinkle. "Sharing the Light: Feminine Power in Tudor and Stuart Comedy." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278551/.

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Studies of the English Renaissance reveal a patriarchal structure that informed its politics and its literature; and the drama especially demonstrates a patriarchal response to what society perceived to be the problem of women's efforts to grow beyond the traditional medieval view of "good" women as chaste, silent, and obedient. Thirteen comedies, whose creation spans roughly the same time frame as the pamphlet wars of the so-called "woman controversy," from the mid-sixteenth to the mid-seventeenth centuries, feature women who have no public power, but who find opportunities for varying degrees of power in the private or domestic setting.

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6

Kwong, Jessica Mun-Ling. "Playing the whore : representations of whoredom in early modern English comedy." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.707984.

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Doyle, Anne-Marie. "Shakespeare and the genre of comedy." Thesis, University of Stirling, 2006. http://hdl.handle.net/1893/177.

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Traditionally in the field of aesthetics the genres of tragedy and comedy have been depicted in antithetical opposition to one another. Setting out from the hypothesis that antitheses are aspects of a deeper unity where one informs the construction of the other’s image this thesis questions the hierarchy of genre through a form of ludic postmodernism that interrogates aesthetics in the same way as comedy interrogates ethics and the law of genre. Tracing the chain of signification as laid out by Derrida between theatre as pharmakon and the thaumaturgical influence of the pharmakeus or dramatist, early modern comedy can be identified as re-enacting Renaissance versions of the rite of the pharmakos, where a scapegoat for the ills attendant upon society is chosen and exorcised. Recognisable pharmakoi are scapegoat figures such as Shakespeare’s Shylock, Malvolio, Falstaff and Parolles but the city comedies of this period also depict prostitutes and the unmarried as necessary comic sacrifices for the reordering of society. Throughout this thesis an attempt has been made to position Shakespeare’s comic drama in the specific historical location of early modern London by not only placing his plays in the company of his contemporaries but by forging a strong theoretical engagement with questions of law in relation to issues of genre. The connection Shakespearean comedy makes with the laws of early modern England is highly visible in The Merchant of Venice, Measure for Measure and The Taming of the Shrew and the laws which they scrutinise are peculiar to the regulation of gendered interaction, namely marital union and the power and authority imposed upon both men and women in patriarchal society. Thus, a pivotal section on marriage is required to pinion the argument that the libidinized economy of the early modern stage perpetuates the principle of an excluded middle, comic u-topia, or Derridean ‘non-place’, where implicit contradictions are made explicit. The conclusion that comic denouements are disappointing in their resolution of seemingly insurmountable dilemmas can therefore be reappraised as the outcome of a dialectical movement, where the possibility of alternatives is presented and assessed. Advancing Hegel’s theory that the whole of history is dialectic comedy can therefore be identified as the way in which a society sees itself, dramatically representing the hopes and fears of an entire community.

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Turner, Irene. "Farce on the borderline with special reference to plays by Oscar Wilde, Joe Orton and Tom Stoppard." [Hong Kong : University of Hong Kong], 1987. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12367898.

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Turner, Irene. "Farce on the borderline with special reference to plays by OscarWilde, Joe Orton and Tom Stoppard." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1987. http://hub.hku.hk/bib/B31949204.

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Oh, Seiwoong. "The Scholarly Trickster in Jacobean Drama: Characterology and Culture." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278216/.

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Whereas scholarly malcontents and naifs in late Renaissance drama represent the actual notion of university graduates during the time period, scholarly tricksters have an obscure social origin. Moreover, their lack of motive in participating in the plays' events, their ambivalent value structures, and their conflicting dramatic roles as tricksters, reformers, justices, and heroes pose a serious diffculty to literary critics who attempt to define them. By examining the Western dramatic tradition, this study first proposes that the scholarly tricksters have their origins in both the Vice in early Tudor plays and the witty slave in classical comedy. By incorporating historical, cultural, anthropological, and psychological studies, this essay also demonstrates that the scholarly tricksters are each a Jacobean version of the archetypal trickster, who is usually associated with solitary habits, motiveless intrusion, and a double function as selfish buffoon and cultural hero. Finally, this study shows that their ambivalent value structures reflect the nature of rhetorical training in Renaissance schools.

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Books on the topic "English drama Comedy"

1

M, Hordis Sandra, and Hardwick Paul, eds. Medieval English comedy. Turnhout, Belgium: Brepols, 2007.

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2

Aristophanes, Menander of Athens, Plautus Titus Maccius, Terence, and Segal Erich 1937-, eds. Classical comedy. London: Penguin, 2006.

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3

Brenton, Howard. Pravda: A Fleet Street comedy. London: Methuen, 1985.

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4

Leggatt, Alexander. Introduction to English Renaissance comedy. Manchester: Manchester University Press, 1999.

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McMillin, Scott, ed. Restoration and eighteenth-century comedy. 2nd ed. New York, USA: W.W. Norton & Co., 1997.

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1944-, Kavenik Frances M., ed. The designs of Carolean comedy. Carbondale: Southern Illinois University Press, 1988.

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H, Ellis Frank. Sentimental comedy: Theory & practice. Cambridge: Cambridge University Press, 1991.

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8

Shaffer, Peter. Lettice & lovage: A comedy. New York: Harper & Row, 1990.

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9

Chinn, Jimmie. Straight and narrow: A comedy. London: S. French, 1992.

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10

Jack, Ronald D. S. Patterns of divine comedy: A study of mediaeval English drama. Cambridge [England]: D.S. Brewer, 1989.

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Book chapters on the topic "English drama Comedy"

1

Hare, Arnold. "English comedy." In Comic Drama, 122–43. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003269496-6.

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Wickham, Glynne. "Medieval comic traditions and the beginnings of English comedy." In Comic Drama, 40–62. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003269496-2.

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Crane, Christopher. "Superior Incongruity: Derisive and Sympathetic Comedy in Middle English Drama and Homiletic Exempla." In Profane Arts of the Middle Ages, 31–60. Turnhout: Brepols Publishers, 2007. http://dx.doi.org/10.1484/m.pama-eb.3.865.

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Fest, Kerstin. "Dramas of Idleness: The Comedy of Manners in the Works of Richard Brinsley Sheridan and Oscar Wilde." In Idleness, Indolence and Leisure in English Literature, 154–73. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137404008_8.

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"History and Comedy." In English Drama, 46–67. Routledge, 2014. http://dx.doi.org/10.4324/9781315836638-12.

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Hunter, G. K. "Later Comedy." In English Drama 1586-1642, 359–417. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198122135.003.0008.

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Abstract The years 1593-4 mark an institutional divide in the theatrical enterprise of the English capital. Cessation of playing in time of plague had been written into the licence to perform since 1574. In such periods (notably 1581-2, 1592-3, 16o3-4, 1608-9, 16og-10, 1625, 1630) the always fragile economy of the profession was strained to breaking-point.2 In 16o4 and 1625 even the King’s Men, the best established of all the companies, had to be bailed out by gifts from their patron.3 In the catch-as-catch-can world of 1593 no such help could be imagined. Travelling into the plague-free provinces (with a reduced company) was an obvious resource, but even that descent into the unrewarding world of heavy wagons, muddy roads, hostile magistrates, unsuitable halls, unsophisticated audiences, could do no more than postpone the forced sale of such assets as costumes and playbooks, essential to a recovery of Lon don status.4 The 1592-3 outbreak seems to have caught a situation already in turmoil. In 1583 the profession had been granted a limited stability by the creation of a body of ‘Queen’s Players’, selected from the best actors from the extant troupes and provided with a courtly status (as grooms of the chamber). But such at tempts to secure control of an essentially fissiparous situation had only a temporary effect.

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Hunter, G. K. "Early Comedy." In English Drama 1586-1642, 93–154. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198122135.003.0004.

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Abstract Thepreceding chapter argues that Elizabethan drama was directed away from shapeless ‘mongrel’ mixtures of rustic humour and tyrannical violence by the revolutionary examples of Tamburlaine and The Spanish Tragedy with their ‘stately’ modes of poetry, coherent structures, and ‘astonishing’ emotions, but that the natural mongrelism of a popular theatre gradually absorbed the innovations. It would be wrong, however, to think of this absorption as simply a relapse; self-consciousness about the genres being drawn on provided some degree of control over the mixture, so that the mixing became in the end the measure of a sophisticated and novel art form in which comedy and tragedy not only contrasted with one another but collaborated as variant aspects of a unified and realistic vision. This was not (as in Italy) a matter of theoretical debate but of practical necessity. The generic demands of tragedy and comedy had no simple or necessary affinity to the kinds of stories that audiences liked to hear and dramatists therefore had to tell. No such symmetry was available as appears, for example, between the forms and the restricted subject matter of Aeschylus and Sophocles. The popular ‘romantic’ stories of love and fortune cut completely across the boundaries of genre as traditionally conceived (tragedy as ‘the falls of princes’, for example) and were thus equally open to comic, tragic, or historical treatment. Nearly all the authors we have to deal with wrote in more than one genre.

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Hughes, Derek. "‘Senseless Riot, Neronian Gambols’: Comedy, 1676–1682." In English Drama 1660–1700, 185–239. Oxford University Press, 1996. http://dx.doi.org/10.1093/acprof:oso/9780198119746.003.0006.

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Hughes, Derek. "‘The freedoms of the present’: Comedy, 1668–1676." In English Drama 1660–1700, 113–61. Oxford University Press, 1996. http://dx.doi.org/10.1093/acprof:oso/9780198119746.003.0004.

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Hughes, Derek. "‘Madam, You have done Exemplary Justice’: Comedy, 1695–1700." In English Drama 1660–1700, 377–423. Oxford University Press, 1996. http://dx.doi.org/10.1093/acprof:oso/9780198119746.003.0011.

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Conference papers on the topic "English drama Comedy"

1

Noguchi, Mary Goebel. "The Shifting Sub-Text of Japanese Gendered Language." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.12-2.

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Sociolinguists (Holmes 2008; Meyerhof 2006) assists to describe the Japanese language a having gender exclusive elements. Personal pronouns, sentence-ending particles and lexicon used exclusively by one gender have been cataloged in English by researchers such as Ide (1979), Shibamoto (1985) and McGloin (1991). While there has been some research showing that Japanese women’s language use today is much more diverse than these earlier descriptions suggested (e.g. studies in Okamoto and Smith 2004) and that some young Japanese girls use masculine pronouns to refer to themselves (Miyazaki 2010), prescriptive rules for Japanese use still maintain gender-exclusive elements. In addition, characters in movie and TV dramas not only adhere to but also popularize these norms (Nakamura 2012). Thus, Japanese etiquette and media ‘texts’ promote the perpetuation of gender-exclusive language use, particularly by females. However, in the past three decades, Japanese society has made significant shifts towards gender equality in legal code, the workplace and education. The researcher therefore decided to investigate how Japanese women use and view their language in the context of these changes. Data comes from three focus groups. The first was conducted in 2013 and was composed of older women members of a university human rights research group focused on gender issues. The other two were conducted in 2013 and 2019, and were composed of female university students who went through the Japanese school system after the Japan Teachers’ Union adopted a policy of gender equality, thus expressing interest in gender issues. The goal was to determine whether Japanese women’s language use is shifting over time. The participants’ feelings about these norms were also explored - especially whether or not they feel that the norms constrain their ability to express themselves fully. Although the new norms are not yet evident in most public contexts, the language use and views of the participants in this study represent the sub-text of this shift in Japanese usage.

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