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Relevant bibliographies by topics / New Comedy

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Dissertations / Theses
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Academic literature on the topic 'New Comedy'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 March 2023

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Journal articles on the topic "New Comedy"

1

Teague, Frances. "Othello and New Comedy." Comparative Drama 20, no. 1 (1986): 54–64. http://dx.doi.org/10.1353/cdr.1986.0051.

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Lowe, N. J. "III New Comedy and Menander." New Surveys in the Classics 37 (2007): 63–80. http://dx.doi.org/10.1017/s0017383508000454.

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After Aristophanes' Wealth (388), our next complete surviving comedy is Menander's Dyskolos from 316: a gap longer than the period spanned by our entire corpus of surviving tragedy. The lost lifetime of ‘Middle Comedy’ is far from a desert; though papyrus texts are scarce, quotations in later Greek texts are very numerous, with Athenaeus' ten-book dialogue Deipnosophistae or ‘Dinner-Party Scholars’ (c. 200 AD) a particularly rich source of snippets concerned with all aspects of food, drink, and the symposium – themes which, even allowing for Athenaeus' specialized interests, seem to have been unusually prominent in the comedy of the era. The relatively abundant fragments and titles fall tantalizingly short of allowing us to trace the evolution of the genre in detail, but it is clear that, by the time Menander began producing in 320 BC, the form and character of comedy had changed, and the long development of Athenian comedy had more or less stabilized. We do not see much further change over the course of Menander's career or in the surviving remains of plays from the following generation, and the plays of New Comedy, even the extant Menander, largely resist attempts at specific dating.

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Greene, A. "THE NEW COMEDY OF MANNERS." Theater 23, no. 3 (June 1, 1992): 79–83. http://dx.doi.org/10.1215/01610775-23-3-79.

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Rosivach, Vincent J. "The Audiences of New Comedy." Greece and Rome 47, no. 2 (October 2000): 169–71. http://dx.doi.org/10.1093/gr/47.2.169.

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There is a school of thought which attributes the more refined discourse of New Comedy (compared with that of the Old) at least in part to a change in the composition of Athenian theatre audiences. This way of thinking assumes that payment for attending theatre performances (the so-called theōrikon) was discontinued along with other payments for i public service under the oligarchic regimes Macedonia imposed upon Athens in the late fourth century B.C.; and it further assumes that with the elimination of this subsidy many of the poor could no longer afford to attend the theatre. The first of these assumptions, that the audiences for New Comedy did not receive theōrikon payments, is reasonable enough, but the second assumption, that the poor therefore stopped coming to the theatre, is more problematic.

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Gianvittorio, Laura. "New Music and Dancing Prostitutes." Greek and Roman Musical Studies 6, no. 2 (August 24, 2018): 265–89. http://dx.doi.org/10.1163/22129758-12341323.

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Abstract Old Comedy often brings prostitute-like dancers on stage while parodying the New Music. This paper argues that such dances were reminiscent of sex practices, and supports this view with dance-historical and semantic evidence. For the history of Greek dance, I survey the literary evidence for the existence of a dance tradition that represents lovers and their acts, and which would easily provide Comedy with dance vocabulary to distort. The semantic analysis of three comic passages, all criticising the New Music in sexual terms, shows a consistent overlapping between the semantic fields of eroticism and of bodily movement, with several terms indicating both figures of lovemaking and figures of dance. By performing comically revisited erotic dances or by verbally alluding to them, prostitutes would powerfully embody the conservative criticism of Old Comedy against the new trends in dance promoted by the New Music.

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Manuwald, Gesine. "Roman Comedy." Brill Research Perspectives in Classical Poetry 1, no. 2 (April 22, 2020): 1–88. http://dx.doi.org/10.1163/25892649-12340002.

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Abstract This contribution provides an introduction to all varieties of ‘Roman comedy’, including primarily fabula palliata (‘new comedy’, as represented by Plautus and Terence) as well as fabula togata, fabula Atellana, mimus and pantomimus. It examines the major developments in the establishment of these dramatic genres, their main characteristics, the performance contexts for them in Republican Rome, and their reception. The presentation of the key facts is accompanied by a description of the influential turns and recent trends in scholarship on Roman comedy. The essay is designed for scholars, teachers and (graduate) students who have some familiarity with Roman literature and are looking for (further) orientation in the area of Roman comedy.

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Romanowski, Max, and Zachary Sheldon. "‘Time to Ranch it Up!’: Ethics and satire in new media." Critical Studies in Television: The International Journal of Television Studies 15, no. 3 (September 2020): 239–54. http://dx.doi.org/10.1177/1749602020935746.

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YouTube and Internet culture have changed expressions of comedy, especially on television. Some forms of TV entertainment content emphasise shock value, resulting in a satirical strain of comedy that stresses absurdity. Such a trend may be observed in The Eric Andre Show (2012–) and Nathan for You (2013–2017), two US comedy TV series which satirise an Internet style of filmmaking while simultaneously critiquing the culture that created it. This article examines these shows for how extreme methods support or detract from their perceived effect, and whether or not such satirical tactics are valid as a way of bringing about change.

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Warońska, Joanna. "Kobiecość a płeć żeńska. Komediopisarki dwudziestolecia międzywojennego wobec dyskursu emancypacyjnego." Wielogłos, no. 2 (44) (2020): 91–116. http://dx.doi.org/10.4467/2084395xwi.20.013.12404.

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Femininity and the Female Gender: Female Comedy Writers of the Interwar Period in Relation to the Emancipation Discourse The article presents an analysis of selected interwar comedies written by women – Marcelina Grabowska, Maria Morozowicz-Szczepkowska, Maria Pawlikowska- -Jasnorzewska and Magdalena Samozwaniec – and dealing with issues related to the emancipation discourse: motherhood, abortion, shaping a new female role model, and relationships in women’s groups. The heroines of those plays, increasingly liberated and self-aware, demanded the rights traditionally assigned to men, while trying to free themselves from widespread stereotypes. The authors of the dramatic works used various comedic techniques and traditions: satirical, ludic, or Young Poland’s “black comedy.” Comedy influenced the construction of the depicted world and its individual elements as well as the linguistic forms. The amusing heroines became negative characters, going beyond the limits of femininity accepted by the society or postulated by the authors, and their awkwardness evoked compassion in the audience or revealed the malfunctioning of social institutions.

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Warońska, Joanna. "Kobiecość a płeć żeńska. Komediopisarki dwudziestolecia międzywojennego wobec dyskursu emancypacyjnego." Wielogłos, no. 2 (44) (2020): 91–116. http://dx.doi.org/10.4467/2084395xwi.20.013.12404.

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Femininity and the Female Gender: Female Comedy Writers of the Interwar Period in Relation to the Emancipation Discourse The article presents an analysis of selected interwar comedies written by women – Marcelina Grabowska, Maria Morozowicz-Szczepkowska, Maria Pawlikowska- -Jasnorzewska and Magdalena Samozwaniec – and dealing with issues related to the emancipation discourse: motherhood, abortion, shaping a new female role model, and relationships in women’s groups. The heroines of those plays, increasingly liberated and self-aware, demanded the rights traditionally assigned to men, while trying to free themselves from widespread stereotypes. The authors of the dramatic works used various comedic techniques and traditions: satirical, ludic, or Young Poland’s “black comedy.” Comedy influenced the construction of the depicted world and its individual elements as well as the linguistic forms. The amusing heroines became negative characters, going beyond the limits of femininity accepted by the society or postulated by the authors, and their awkwardness evoked compassion in the audience or revealed the malfunctioning of social institutions.

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Shearer, Martha. "The Comedy of Redevelopment: Romantic Comedy, Real Estate, and the "New" Times Square." JCMS: Journal of Cinema and Media Studies 60, no. 2 (2021): 105–28. http://dx.doi.org/10.1353/cj.2021.0005.

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Dissertations / Theses on the topic "New Comedy"

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Sinner, Megan. "FEMINISM IN THE FILMS OF NEW GERMAN COMEDY." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1146072869.

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Baker, Clara Adams. "A New Woman: The Heroine of Screwball Comedy." Thesis, The University of Arizona, 2013. http://hdl.handle.net/10150/311752.

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May, Regine. "A comic novel? : Roman and new comedy in Apuleius' Metamorphoses." Thesis, University of Oxford, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270113.

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Petrides, Antonios Kyprou. "Faces of allusion : intertextuality and the mask of new comedy." Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.615067.

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Wickham, Philip John. "British situation comedy and "the culture of the New Capitalism"." Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/8983.

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This study examines British television situation comedy over the last fifteen years and analyses the genre as part of a discourse about the nature of modernity. In this period globalisation, technology and the rapid reassessment of formerly established social structures have created new modes of everyday existence that represent significant changes to people’s lives. The thesis argues that contemporary sitcoms address these shifts in social understanding and anxieties about contemporary British life. A wide range of texts are discussed, four in particular detail; Peep Show, Love Soup, Saxondale and Home Time; which explicitly try to form a dialogue with their audience about living in modernity. The thesis largely takes a methodological approach from Television Studies, referencing scholars from the discipline, in particular John Ellis’s concepts of “working through” and employing a significant amount of textual analysis. Chapter two looks at the context of television in this changing world and chapter three analyses how sitcom as a genre has redefined its forms. Chapter four identifies the importance of ‘tone’ in comedy and analyses how modernity demands new modes of address for comedy to meet the expectations of its audience. The study demonstrates how texts balance new approaches with continuities drawn from the existing sitcom tradition. In order to interrogate the nature of social change and its effects, chapter one engages with the work of a number of social theorists. In particular it analyses the recent writings of Richard Sennett and Zygmunt Bauman, who identify contemporary life as “the culture of the new capitalism” and “liquid modernity” respectively. They consider how such change might affect how individuals feel about themselves and their place in society. Throughout, the thesis demonstrates how this work might be applied to the study of sitcom and combines social theory with a detailed analysis of this television form in transformation, arguing that sitcom remains a resonant site for audiences to participate in a productive discourse about how we live today.

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Hudson, Ben. "The new comedian : media and technology in stand-up comedy." Thesis, University of Kent, 2015. https://kar.kent.ac.uk/50238/.

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This thesis is an investigation of media and technology in stand-up comedy performance and a reflection on Practice as Research undertaken at the University of Kent, UK. Using case studies of experimental stand-up practice and the work of professional comedians, I examine the application of technology in stand-up comedy and analyse the performance dynamics of mediatized stand-up. The framework of this study is formed by three Practice as Research performances, considering issues of time, body and space fundamental to live performance and media theory. Ben Hudson’s Super Media World (2012) used digital projection and an internet connection to play simultaneously to a live studio and online audience, exploring the presence and liveness of screened media. Ben Hudson, Not A Real Person (2013) staged a personal journey of discovery through online social networking profiles and an animated double-act, presenting the comedian at odds with their media double. Finally, Ben Hudson’s Dead Funny (2014) used the hypermedium of videogame streaming as a model for stand-up performance in cyberspace, featuring the videogame DayZ (2013) as its online venue. Analysis of these performances, combined with critical reflection on the work of relevant comedians, is placed within a framework of media and performance discourse. Stand-up is presented as a basic model of theatre performance; a present tense encounter with a requirement for two-way communication between audience and performer. This thesis argues that instead of threatening stand-up as a quintessentially live and co-present art-form, media and technology are shown to create exciting potential in comic performance. In their role as cultural mediators, stand-up comedians self-reflexively acknowledge the process of technological mediation. Responding to the specificity of the performance situation and playing with the temporalities of recorded and broadcast media, stand-ups are able to find humour in the juxtaposition of media elements and subvert audience expectations of presence and liveness.

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Boyle, Bridget C. "Bits and bumps: Understanding gender in contemporary physical comedy." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/83638/1/Bridget_Boyle_Thesis.pdf.

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This study investigates how the gender of a performer affects the way they produce physical comedy in a theatrical context, framed through Kristeva's theory of abjection and Butler's notion of gender as performance. As a thesis by creative work, it produced an original piece of theatre, The Furze Family Variety Hour, which featured a male/ female comic duo, where the female performer enjoyed an equal share of the punch lines. The study generates a new understanding of how the body operates in physical comedy, namely, a system of bodily registers, as well as a new understanding of the female grotesque comic body.

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Cinaglia, Valeria. "Aristotle and Menander on the ethics of understanding." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3182.

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This doctoral thesis explores a subject falling in the interface between ancient Greek philosophy and literature. Specifically, I am concerned with common ground between the New Comedy of Menander and aspects of Aristotle’s philosophy. The thesis does not argue that the resemblance identified between the two writers shows the direct influence of Aristotle on Menander but rather thay they share a common thought-world. The thesis is structured around a series of parallel readings of Menander and Aristotle; key relevant texts are Menander’s "Epitrepontes", "Samia", "Aspis", "Perikeiromene" and "Dyscolos" and Aristotle’s "Posterior Analytics", "Nicomachean and Eudemian Ethics", "De Anima" and "Poetics". My claim is that Menander’s construction of characters and plots and Aristotle’s philosophical analyses express analogous approaches on the subject of the relationship between knowledge and ethics. Central for my argument is the consideration that in Aristotle’s writings on ethics, logic, and psychology, we can identify a specific set of ideas about the interconnection between knowledge-formation and character or emotion, which shows, for instance, how ethical failings typically depend on a combination of cognitive mistakes and emotional lapses. A few years later than the composition of Aristotle’s school-texts, Menander’s comedies, as expressed in the extant texts, present to a wider audience a type of drama which, as I argue, reflects an analogously complex and sophisticated understanding of the interplay between cognitive or rational understanding and character or emotion. More broadly, Aristotle and Menander offer analogous views of the way that perceptions and emotional responses to situations are linked with the presence or absence of ethical and cognitive understanding, or the state of ethical character-development in any given person. Thus, I suggest, the interpersonal crises and the progress towards recognition of the identity of the crucial figures in Menandrian comedies embody a pattern of thinking about perception, knowledge and the role of emotion that shows substantial linkage with Aristotle’s thinking on comparable topics.

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Sander, Johanna. "The television series Community and Sitcom : A case study aimed at the genre of contemporary American Sitcom television series." Thesis, Karlstads universitet, Estetisk-filosofiska fakulteten, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-15067.

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This thesis is asking whether the television series Community (2009-) can be defined as a Sitcom, combined with a look at how other genres that generally are considered to be non-comic are incorporated in the series and how those are identifiable as well as whether or not they compromise Community’s possible label as a Sitcom. In seeking to define this show’s place in its own genre I found that whilst Community does not follow the archetypal technical conventions of Sitcom, it still does follow some of its setups, tropes and ideas. It does not suffice as a classical Sitcom, but it does lean on some of the genres conventions and has not yet passed over the line where it would be part of a completely different genre. Instead I state that the series fits the term New Comedy, as devised by Antonio Savorelli, not a genre but a term representing the heightened use of metatextuality on four levels in Comedy. Thus Community suffices as a part of an evolved version of the Sitcom genre.

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Torrissen, Wenche. "The Gaiety girl as a new, 'new woman' : pleasure, female desire and sexual subversion in late-Victorian and Edwardian musical comedy." Thesis, Royal Holloway, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521776.

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Books on the topic "New Comedy"

1

Ivens, Michael. The new divine comedy. Bath: Mammon Press, 1990.

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Kanin, Garson. Peccadillo: A new comedy. New York: S. French, 1990.

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Webster, T. B. L. Monuments illustrating new comedy. 3rd ed. [London]: Institute of Classical Studies, University of London School of Advanced Study, 1995.

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Edahl, Ed. Comedy explosion: A new generation. New York: Thunder's Mouth Press, 1991.

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Aristophanes' old-and-new comedy. Chapel Hill: University of North Carolina Press, 1987.

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Geoghan, Jim. Only kidding!: A new comedy. Garden City, NY: Fireside Theatre, 1990.

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Funny money: A new comedy. London: S. French, 1995.

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Biloxi blues: A new comedy. New York: S. French, 1986.

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Return engagements: A new comedy. New York: S. French, 1989.

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Simon, Neil. Biloxi blues: A new comedy. New York: French, 1987.

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Book chapters on the topic "New Comedy"

1

Ilott, Sarah. "Multicultural British Comedy/The Comedy of Multicultural Britain." In New Postcolonial British Genres, 134–69. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137505224_5.

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Kay, Kavyta. "Women in Internet Comedy." In New Indian Nuttahs, 47–60. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97867-3_3.

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Kay, Kavyta. "The Currency of Comedy." In New Indian Nuttahs, 75–85. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97867-3_5.

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Norrish, Peter. "Eugène Ionesco: New Comedy." In New Tragedy and Comedy in France 1945–70, 76–90. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-06780-0_6.

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James, Sharon L. "Elegy and New Comedy." In A Companion to Roman Love Elegy, 251–68. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781118241165.ch16.

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Wild, Jonathan. "What Was New About the ‘New Humour’?: Barry Pain’s ‘Divine Carelessness’." In Victorian Comedy and Laughter, 291–308. London: Palgrave Macmillan UK, 2020. http://dx.doi.org/10.1057/978-1-137-57882-2_11.

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Wallace, Richard. "‘The Day the PM Joined The Thick of It’: The Mockumentary and New Labour." In Mockumentary Comedy, 127–63. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-77848-8_5.

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Brown, Peter. "Terence and Greek New Comedy." In A companion to Terence, 15–32. Oxford: Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118301975.ch1.

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Norrish, Peter. "Introduction: New Tragedy and Comedy." In New Tragedy and Comedy in France 1945–70, 1–14. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-06780-0_1.

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Kay, Kavyta. "Riffing India Comedy, Identity, and Censorship." In New Indian Nuttahs, 21–46. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97867-3_2.

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Conference papers on the topic "New Comedy"

1

Sen, Wang. "AN ANALYSIS OF THE PRODUCING MECHANISM OF HOMOPHONIC WITTICISM FROM THE PERSPECTIVE OF VERBAL COMMUNICATION：TAKING ROAST AND TALK SHOW CONGRESS AS AN EXAMPLE." In Chinese Studies in the 21st Century. Buryat State University Publishing Department, 2022. http://dx.doi.org/10.18101/978-5-9793-1802-8-2022-186-191.

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With the make complaints about comedy show in the two stage of Tucao con-ference and talk show Congress, the frequent "homophonic witticism" has also been wide-ly watched and imitated by the public. As the dissemination of information,"homophonic witticism" is a kind of innovation in language form, which has a unique expression func-tion. In addition to the classification and analysis of "homophonic witticism" in form, its internal mechanism is also worth exploring. The "homophonic witticism" in talk show is more used by talk show actors to express their attitude towards post-modern social life with this special language form, which reflects the relationship between language and thinking. In addition, "homophonic witticism" is different from other network catchwords in that it teaches the public a new way of expression and thinking.

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Maccone, Claudio. "Sun’s Focus Comes First, Interstellar Target Comes Second." In NEW TRENDS IN ASTRODYNAMICS AND APPLICATIONS III. AIP, 2007. http://dx.doi.org/10.1063/1.2710058.

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Günay Abuşova, Günay Abuşova. "VƏZIYYƏT KOMEDIYASI VƏ ONUN ÜMUMI XÜSUSIYYƏTLƏRI." In THE FIRST INTERNATIONAL SCIENTIFIC – PRACTICAL VIRTUAL CONFERENCE IN MODERN & SOCIAL SCIENCES: NEW DIMENSIONS, APPROACHES AND CHALLENGES. IRETC, 2022. http://dx.doi.org/10.36962/mssndac-01-20.

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Vəziyyət komediyası kinokomediyanın alt janrlarından biri olub, tərcüməsi ingilis dilində “situation comedy” sözündəndir. Mənşəyini İngilis kanalı BBC -dən alan bu janr ilk dəfə 1946-cı ildə meydana çıxşmışdır. Lakin İngiltərədə meydana çıxmağına baxmayaraq, janrın inkişafı Amerikanın adı ilə bağlıdır. Belə ki, 1946-cı ildən sonra “sitkom”lar bir çox rejissorların diqqətini cəlb etmişdir ki, onların ilki Vilyam Aşer olmuşdur. Vəziyyət komediyasına aid filmləri, digərlərindən fərqləndirən bir neçə xarakterik xüsusiyyət mövcuddur: 1. Bu növ filmlər real məkanlarda deyil, dekorlar vasitəsilə qurulmuş məkanlarda çəkilir. Dekorlar vasitəsilə qurulan studiyalarda isti bir məkan yaratmaq, tamaşaçını özünə cəlb etmətin ən əsas yollarında biri hesab olunur. 2. Adından da göründüyü kimi bəziyyət komediyası filmlərində “vəziyyət” həmişə ön plandadır. Belə ki, bu janr filmlərdə həmişə bir vəziyyət (situasiya) mövcuddur və bu vəziyyətə uyğun nəticə həlli tapmaq filmin ədsas süjet xəttini təşkil edir. 3. Sitkomlarda əsasən movcud “vəziyyət” orta sinif üçün xarakterikdir. Buna səbəb izləyicinin böyük bir hissəsinin orta sinifdən olan insanlardan ibarət olmasıdır. 4. Zaman-zaman arxa fonda eşidilən gülüş səsi, vəziyyət komediyasında çəkilən filmlərin digər xarakterik xüsusiyyətidir. 5. Xüsusiyyətlərinə görə teatra ən çox yaxın olan komediya film janrı hesab olunur. Bundan əlavə vəziyyət komediyası filmləri üçün bir neçə xüsusiyyət xarakterikdir ki, onları bu şəkildə siralamaq olar: 1. Vaxt məhdudiyyəti: bu tip filmlər adətən yarım saat davam edir. 2. Məkan məhdudiyyəti. 3. Personajların azlıq təşkil etməsi. 4. Dəyişkən vəziyyət 5. Mövcud daxili qaydalar və s. Azərbaycanda isə vəziyyət komediyaıarının çəkilməsi son 10 illiyə aiddir. Bu zaman qədər isə özündə vəziyyət komediyası filmi xüsusiyyətlərini daşıyan bir neçə kinokomediya olsa da, sırf sitkomlara ümumiyyətlə müraciət olnmayıb. Azərbaycanda vəziyyət komediyası janrında çəkilən filmlər üçün bir neçə xüsusiyyət xarakterikdir: 1. Bu janrda çəkilən filmlərin demək olar ki hamısında çəkilən aktyorlar eynilik təşkil edir. Bəzən eyni bir aktyorun eyni anda bir neçə serialda rol almasını müşahidə etmək mümkündür. 2. Eyni hal filmlərin rejissorları və ssenari müəllifləri üçün də xarakterikdir. Eyni “əldən” çıxan mövzular bir zaman sonra təkrarçılığın yaşanmasına gətirib çıxardır. 3. Bəzi istisnaları çıxmaq şərti ilə demək olar ki, bütün vəziyyət komediyalarında düşündürücülükdən uzaq, bayağı gülüş ön plandadır. -2015-ci ildə çəkilmiş “Oğlan evi” və 2016-cı ildə çəkilmiş “Oğlan evi 2” kinokomediyaları Sosial mövzuya toxunması baxımından film dövrünün çəkilən digər kommersiya xarakterli kinokomediyalarından fərqlənir. 4. Bundan əlavə çəkilən vəziyyət komediyası filmlər üçün bir neçə mövzu xarakterikdir: - Ailə mövzulu komediya - Drammatik mövzulu komediya - Hərəkət komediyası Azərbaycanda isə sitkom janrında çəkilən filmlərin demək olar ki, hamısı ailə mövzulu komediyalarıdır. Bu komediyalarda da əsas süjet xəttinə daxil olan hadisələr mətbəx və evin qonaq otağı arasında cərəyan edir. 5. Vəziyyət komediyası filmləri üçün xarakterik olan bir digər cəhət vaxt dilimidir. Belə ki, bu janrda filmlər ən çox 30 dəqiqə davam edir. Azərbaycanda isə bu vəziyyət fərqlidir. Ölkədə çəkilən demək olar ki, bütün sitkomlarda zaman ən az 40, ən çox 60 dəqiqə aralığındadır. Bu əlbətdə ki, daha çox reklam, daha çox gəlir qayğısından irəli gəlir. 6. Bu janrda çəkilən filmlər daha çox xarici ölkələrdə çəkilmiş sitkomların Azərbaycan tamaşaçısına tətbiq edilmiş və nisbətən aşağı keyfiyyətli variantlarıdır. Məsələn: “Ər və arvad”, “Aramızda qalsın” və s. Qeyd: bu xüsusiyyət yanız ölkəmiz üçün deyil, bir çox ölkələr üçün xarakterikdir. Nəticə etibarilə Azərbaycanda çəkilən vəziyyət komediyası janrında olan filmlər əsasən məişət mövzulu, daha çox qohumluq əlaqələrinin ön planda olduğu, dərin düşüncə və qayğılardan uzaq, heç bir sosial mesajı olmayan, orta statistik azərbaycan tamaşaçısının zövqünü oxşamağa və daha çox reytinq toplayaraq, gəlir gətirməyə hesablanmış,vulqar sözlərin çox istifadə olunduğu aşağı büdcəli filmlərdir. Zənnimcə bu janrda olan filmləri rejissor üçün maraqlı edən də məhz bu xüsusiyyətlərdir. Açar sözlər: vəziyyət komediyası janrı, məişət mövzulu filmlər.

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4

Nagy, Wim, Glenn Thierens, Hendrik Blontrock, Hans De Backer, Philippe Van Bogaert, Kristel Reynaert, and Johan Maljaars. "Fatigue assessment of an existing orthotropic steel deck to comply with future traffic intensity." In IABSE Congress, New York, New York 2019: The Evolving Metropolis. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2019. http://dx.doi.org/10.2749/newyork.2019.0711.

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<p>Orthotropic Steel Decks (OSDs) are widely used in long span bridges because of their extremely light weight when compared to their load carrying capacity. These deck types typically consist of a grillage of closed trapezoidal longitudinal stiffeners and transverse web stiffeners, welded to a deck plate. As a result, fatigue problems occur due to the extensive use of complex welded connections. Unfortunately, fatigue effects have often been overlooked during design, which was also the case for an important multiple span box girder viaduct in Belgium (1978).</p><p>Due to a renovation program of the ring road around Brussels, the number of traffic lanes on the viaduct should be extended from three to four. As a result, questions have been raised about the current structural health of the OSD due to fatigue and future fatigue damage accumulation. Therefore, extensive FEM analyses have been performed, taking into account various parameters such as increased traffic volume and accompanying axle loads, historical positions of the heavy lanes, historical road pavements and their temperature-dependent load spreading effects. In conclusion, accurate fatigue damages have been determined for all fatigue details. Therefore, focused inspections and design solutions can be provided, resulting in a durable bridge management for the next 60 years.</p>

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5

Sizova, M. D., E. S. Postnikova, A. P. Demidov, N. V. Chupina, and S. V. Vereshchagin. "HYADES STAR CLUSTER AND A NEW COMETS." In 48-th International student's conferences "Physics of Space". Ural University Press, 2020. http://dx.doi.org/10.15826/b978-5-7996-2935-9.74.

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Robert, Chantal, and Nadia Be´langer. "To Comply: Why Should I?" In 2002 4th International Pipeline Conference. ASMEDC, 2002. http://dx.doi.org/10.1115/ipc2002-27162.

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The National Energy Board (NEB) is a Canadian federal regulatory agency whose mandate under the NEB Act is to regulate the construction and operation of interprovincial and international oil, gas and commodity pipelines; the construction and operation of international and designated interprovincial power lines; the setting of tolls and tariffs for oil and gas pipelines under its jurisdiction; the export of oil, natural gas and electricity, and the import of natural gas. International and interprovincial pipelines are subject to the statutory requirements of the NEB Act and Regulations made by the NEB. The regulations typically incorporate consensus standards such as the Canadian Standards Association (CSA Z662 - Oil and Gas Pipeline Systems). The NEB tracks and monitors compliance to ensure that companies fulfill the requirements of the Act and Regulations as well as any conditions imposed at the time of approval of the facilities. In carrying out its mandate, the NEB promotes the safety of people, the protection of property and the environment, and economic efficiency in the Canadian public interest. Recently, the NEB has implemented a formal system to track and monitor compliance. In approving new projects, the NEB imposes conditions outlined in approval Orders and Certificates. It then tracks these conditions for compliance, completeness and effectiveness. The compliance information is gathered mainly from activities such as inspections, audits and company filings. This paper explores in greater detail the NEB’s role in terms of tracking and monitoring compliance, NEB expectations of regulated companies and the effectiveness of a self-reporting condition. It also discusses the advantages for companies to be in compliance and its importance.

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Yan-fang, Yue, Zhang Rui-gang, Yang Guang, and Ge Guang-le. "Application of COMERO Data Collecting in Quality Management System." In 2009 Sixth International Conference on Information Technology: New Generations. IEEE, 2009. http://dx.doi.org/10.1109/itng.2009.167.

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Schwartz, P. R. "New directions in coastal and ocean remote sensing." In Conference Proceedings Second Topical Symposium on Combined Optical-Microwave Earth and Atmosphere Sensing. IEEE, 1995. http://dx.doi.org/10.1109/comeas.1995.472357.

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Gavra, Dmitrii P., Elena V. Bykova, Alyona S. Savitskaya, and Yuliya V. Taranova. "Communication strategies of megacities in the new digital reality." In 2018 IEEE Communication Strategies in Digital Society Workshop (ComSDS). IEEE, 2018. http://dx.doi.org/10.1109/comsds.2018.8354956.

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Rotanova, Mira B. "A New Digital Landscape and Politicians’ Public Performance Evaluation." In 2021 Communication Strategies in Digital Society Seminar (ComSDS). IEEE, 2021. http://dx.doi.org/10.1109/comsds52473.2021.9422874.

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Reports on the topic "New Comedy"

1

Echenard, Bertrand. Charged Lepton Flavor Violation and the New Mu2e and COMET Experiments. Office of Scientific and Technical Information (OSTI), April 2018. http://dx.doi.org/10.2172/1579239.

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2

Freeman, Richard, Emily Jin, and Chia-Yu Shen. Where Do New US-Trained Science-Engineering PhDs come from? Cambridge, MA: National Bureau of Economic Research, June 2004. http://dx.doi.org/10.3386/w10554.

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MacGregor, James K. Civilian Personnel Administration: The Time Has Come for a New Paradigm. Fort Belvoir, VA: Defense Technical Information Center, March 1992. http://dx.doi.org/10.21236/ada251054.

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Majchrowska, Justyna. TESTIMONIAL IN (NEW) MEDIA. Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11109.

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The linguistic research of (the new) media so far has mainly focused on the analysis of content from broadcasters – people publishing on the Internet in order to convince the potential recipients to enter the website, read articles, explore the website as well as return after leaving it – in exchange for the material or financial benefit. Several years of observation of a variety of text types existing in the media shows that not only texts from broadcasters make it possible to notice and maintain this attention of recipients. Nowadays, similarly as in marketing and advertising, in the media (but not only there) the essential and productive content comes from the recipient. The subject of this quantitative and qualitative linguistic analysis is the title testimonial as a rapidly growing persuasive (promotional) trend in (new) media and a response to the challenges of the modern society.

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Canzoneri, Matthew, Robert Cumby, and Behzad Diba. The Need for International Policy Coordination: What's Old, What's New, What's Yet to Come? Cambridge, MA: National Bureau of Economic Research, February 2002. http://dx.doi.org/10.3386/w8765.

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Gupta, Shweta. Synthetic Biology: The Gateway to Future Biotechnological Industry. Science Repository OÜ, May 2021. http://dx.doi.org/10.31487/sr.blog.34.

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Synthetic biology has come up as a new interdisciplinary area involving the application of engineering principles in the field of biology aiming at fabricating and redesigning biological systems and components that are not naturally found in the world.

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Landon, Tess, and Harald Hochreiter. Randomised controlled trials and other experimental approaches in the Austrian Research Promotion Agency. Fteval - Austrian Platform for Research and Technology Policy Evaluation, April 2022. http://dx.doi.org/10.22163/fteval.2022.554.

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The objective of this paper/presentation is to highlight how experimental approaches, specifically Randomised Controlled Trials (RCTs), can be leveraged to evaluate and measure the impact of new programmes, support programme development and test new services in funding and innovation agencies. RCTs are seen in many facets of public policy, however RCTs as a method for innovation agencies to evaluate new initiatives is relatively new. We present three RCTs implemented in the Austrian Research Promotion Agency (FFG) that have received funding from the European Union’s Horizon 2020 research and innovation programme. The trials are implemented to evaluate the effectiveness of new measures intended to help strengthen R&I in start-ups and SMEs. Through these three examples, we aim to demonstrate the advantages in which RCTs can augment the evaluation of new services as well as challenges that come with implementing RCTs. For one RCT, we will present final results. Two RCTs are ongoing, and we will present the trial design. We also discuss the operational aspects of incorporating experimentation in an innovation agency.

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Higgins, Carey. Does the "news" come first? Social responsibility, infotainment, and local television newscasts in Portland, Oregon : a content analysis. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.5674.

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BESTAEVA, E. HISTORICAL AND PHILOSOPHICAL ASPECT OF THE ROLE AND IMPORTANCE OF ETHICS IN THE SYSTEM OF MODERN EDUCATION. Science and Innovation Center Publishing House, 2021. http://dx.doi.org/10.12731/2077-1770-2021-13-4-3-14-18.

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The article examines the issues of ethics in the educational process in the historical and philosophical development. The main attention is focused on the transformations taking place in the field of economics, science and technology, the meaning and significance of education, which is aimed at the formation of a morally oriented personality, is being revised in a new way. The need for ethical knowledge comes to the fore in the modern educational process, which is aimed at the formation of moral values of the younger generation.

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Gulesci, Selim, María Lombardi, and Alejandra Ramos. Telenovelas and Attitudes toward the LGBTIQ Community in Latin America. Inter-American Development Bank, February 2023. http://dx.doi.org/10.18235/0004719.

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How does exposure to soap operas with LGBTIQ characters affect attitudes toward the LGBTIQ community? To answer this question, we construct a novel database of 175 telenovelas (soap operas) with LGBTIQ characters airing in 14 countries in Latin America and the Caribbean between 2002 and 2019. Exploiting variation in the introduction of new soap operas with LGBTIQ characters within country and survey-waves, we find that individuals exposed to more soap operas with LGBTIQ characters are less tolerant toward the LGBTIQ community. This short-term backlash is driven by exposure to telenovelas with homosexual characters and shows with comedic storylines. The effect is stronger among traditionally more conservative individuals (e.g., older or frequently attending religious services).

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