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Journal articles on the topic 'New Comedy'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

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

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2

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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3

Ma, Ye. "A comparative and acceptance study of women’s discourse in Chinese-American online stand-up comedy." SHS Web of Conferences 174 (2023): 02014. http://dx.doi.org/10.1051/shsconf/202317402014.

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As an emerging form of comedy, stand-up comedy has developed rapidly and attracted widespread attention in various countries today through the production and dissemination mode of new media. In order to better understand the cultural characteristics of stand-up comedy and provide methodological inspiration for contemporary feminist public expression, this essay focuses on online stand-up comedy in China and the United States. Drawing on relevant theories from feminism, gender sociology, reception aesthetics, and communication studies, this essay uses textual close reading and comparative analy

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4

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

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5

Rosivach, Vincent J. "The Audiences of New Comedy." Greece and Rome 47, no. 2 (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 th

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6

Zhang, Fan, and Jingyu Lu. "“Post-Truth”: Diversified Visual Expression of Social Issues." Journal of Education, Humanities and Social Sciences 34 (July 9, 2024): 96–100. http://dx.doi.org/10.54097/x1kbt785.

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The movie “Post-Truth” was released in 2023, which, as always, continues its director Da Peng’s direction of comedy creation while having a new expansion. In this commercial comedy film, Da Peng incorporates emerging elements such as livestreaming and room escape, and shows social issues such as cyber violence, rumor spreading, and school bullying, which are closely related to the current reality. The film expresses serious social issues in a comedic way. This article will focus on the Chinese chivalrous spirit, genre hybridity, audiovisual presentation and imagery expression of the film, anal

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7

Gianvittorio, Laura. "New Music and Dancing Prostitutes." Greek and Roman Musical Studies 6, no. 2 (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

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8

Manuwald, Gesine. "Roman Comedy." Brill Research Perspectives in Classical Poetry 1, no. 2 (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 schol

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9

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 tryi

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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 tryi

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11

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 (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 vali

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12

Giota, Madoura. "Αριστοφάνης και Μένανδρος: Κριτική προσέγγιση". Archive 18, № 1 (2021): 6–17. https://doi.org/10.5281/zenodo.5801616.

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The main characteristics of the dramatic art of Aristophanes –based on his work Ornithes (Birds)- and Menander –based on his work Dyskolos- are analyzed in this essay. With Ornithes, Aristophanes turns to Utopia, to the overthrow of the familiar reality, to the paradox, not only serving the comic art, but responding to the political impasse of Athens. The flight of the two Athenians (Peisthetairos, Evelpidis) indignant at the dichotomy of their fellow citizens becomes an occasion to raise other issues. Thus, the comedy becomes the richest form of dramatic art in inspirations and co

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13

Weber, Donald. "Sid Caesar's Comedy of Excess and the Jewish American 1950s." Jewish Film & New Media: An International Journal 10, no. 2 (2022): 163–83. http://dx.doi.org/10.1353/jfn.2022.a936916.

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ABSTRACT: In this article, I want to situate Caesar's famously unhinged comedic art within and against the Jewish American 1950s – a response to the culture of abundance we associate with the era's embrace of commodification. I'm interested in Caesar's hilarious, biting social satires that focus on the obsessions and absurdities of the new middle class on display in his domestic sketches, first with Imogene Coca on Your Show of Shows (called "The Hickenloopers") and later, with Nanette Fabray, on Caesar's Hour (called "The Commuters"). In his most original comedy Caesar saw through the pretens

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Sihombing, Lambok Hermanto, Annisa Rahma Fajri, Mita Divia Sonali, and Puji Lestari. "Indonesian Stand-Up Comedy: A New Developing Industry of Youth Culture." Humaniora 14, no. 1 (2023): 1–10. http://dx.doi.org/10.21512/humaniora.v14i1.8381.

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The research analyzed the growth of stand-up comedy in Indonesia, which had developed into a new trend or popular culture and a new creative business that produced skilled and well-known comics. Furthermore, it discussed how stand-up comedy might develop into a new creative business by evaluating the growth of the community, Instagram, and YouTube, as well as the growth of successful comics. In order to help the researchers doing the analysis, the researchers applied a qualitative method. They used two theories named Self-presentation concept by Goffman and Creative Industry theory by Richard

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15

Jamieson, Ruth, Ruth Donnelly, and Jim White. "‘Laff Yer Heid Aff’: The role of comedy inincreasing public awareness of common mental health problems." Clinical Psychology Forum 1, no. 187 (2008): 55–58. http://dx.doi.org/10.53841/bpscpf.2008.1.187.55.

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STEPS, a Glasgow primary care mental health team, has supported a comedy event held as part of the Scottish Mental Health Film and Arts Festival. The comedy event, which took place on World Mental Health Day (10 October 2007) marked the launch of a new STEPS mental health promotion comedy DVD.

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16

Carlesimo, Roberta. "P.Lund I 4 + P. Carlsb. inv. 50 ricongiunti. Frammenti di commedia adespota (PCG VIII 1066 + 1124)." Archiv für Papyrusforschung und verwandte Gebiete 70, no. 1 (2024): 1–15. http://dx.doi.org/10.1515/apf-2024-700101.

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Abstract P.Lund I 4, first published in 1935, contains lines from an unknown comedy, doubtfully attributed to Menander in the ed.pr.; P. Carlsb. inv. 50, published in 1977, preserves verses from a comedy possibly by Menander or Apollodorus of Carystus. According to my re-examination, the two fragments belong to the same bookroll. In this paper I will discuss this joint, together with a new reconstruction of the comedy scene preserved by P.Lund I 4 and some new readings.

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17

Nwankwọ, Izuu. "What It Is to Perform , Not Tell , Jokes: Toward a Manifesto of Stand-Up Research." Theatre Topics 34, no. 2 (2024): 135–42. http://dx.doi.org/10.1353/tt.2024.a932205.

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Abstract: This essay makes a case for studying stand-up comedy with theatre analytical tools by highlighting its performative nature and discussing how body interactivities within its enactment produce meaning and humor beyond what comedians say. It provides an alternate reading of stand-up comedy to the prevalence of linguistic evaluations, which often conflate stand-up art with other comedic traditions that are not performed. I argue that such perspectives often downplay the co-participation of the audience and what comedians do with their bodies. Citing joke samples from three African diasp

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18

Munday, Jenny. "1 The Comedy Asylum." Canadian Theatre Review 48 (September 1986): 26–31. http://dx.doi.org/10.3138/ctr.48.006.

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The Comedy Asylum began in 1982 when Lou Roelofsen, then manager of the Wandlyn Inn In Fredericton, decided to present dinner theatre in order to promote the hotel during the traditionally slow winter season. He got together with Marshall Button and Michael McHugh, and the great Comedy Asylum dinner theatre experiment began. At that time there was nothing like it in Fredericton. Apart from several good amateur groups throughout the province, the only English-language theatre in New Brunswick was Theatre New Brunswick. Lou believed not only that dinner theatre was commercially viable, but also

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19

Pawlak, Matthew. "The εἴρων/ἀλαζών Dynamic and New Testament Studies: The Case of the Tractatus Coislinianus ". Zeitschrift für die neutestamentliche Wissenschaft 116, № 1 (2025): 125–49. https://doi.org/10.1515/znw-2025-0007.

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Abstract New Testament scholars discussing irony have for decades invoked a character dynamic from Greek Old Comedy between the εἴρων and the ἀλαζών, the dissembler and the braggart, to explain the relationship between different characters in the Gospels and Paul’s letters. This article investigates the validity of this dynamic by analyzing its source: The Tractatus Coislinianus, a 10th century manuscript that claims to summarize Aristotle’s lost work on comedy (Poetics II). The article uses Aristotle, including Poetics I, Rhetoric, and the Nicomachean Ethics, in addition to Old Comedy and Cic

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20

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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21

Gray, Jonathan, and Daphne Gershon. "The Unsituated Comedy." JCMS: Journal of Cinema and Media Studies 63, no. 4 (2024): 53–74. http://dx.doi.org/10.1353/cj.2024.a934547.

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ABSTRACT: This article examines how multiple American situation comedies from the past decade are considerably less situated, with settings, characters, narratives, and humor characterized by a sense of fluidity and movement. As we detail this new subgenre, which we dub the unsituated comedy , we outline the situation of situation comedy, tracing its central role in the construction of the traditional sitcom, and how the emergence of unsituatedness can trouble some of the assumptions and ideological conventions commonly associated with American TV comedy series.

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22

Genova, Vesela. "Pierre Corneille’s Comedy without Laughter and its Role in the Development of Neoclassical Comedy in France." Филология, no. 45 (November 2024): 13–28. http://dx.doi.org/10.60055/phl.2024.45.13-28.

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The emerging neoclassical dramaturgy in France (1720s and 1730s) explicitly sought its aesthetic foundations in ancient poetics and practices. Inspired by a rather radical interpretative development of these by Heinsius, the French playwright Pierre Corneille pursued the ambitious goal of creating an entirely new classical comedy that would not need any laughter. This article contextualizes and analyses his conception, elucidates its aesthetic underpinnings, and traces its practical realizations in order to situate this seemingly quirky aesthetic experiment in the development of comedy through

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23

Roșca, Diana. "Stand-up Comedy: Origins, Development, Education, and Romanian Perspectives of a Comic Form." Studia Universitatis Babeş-Bolyai Dramatica 68, no. 2 (2023): 109–26. http://dx.doi.org/10.24193/subbdrama.2023.2.06.

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"Humor is a very powerful weapon, it can change mentalities, induce ideas, propose new behaviors. The stand-up comedy phenomenon has taken a strong lead, it is enjoyed and consumed by a large and diverse audience. By briefly analyzing the genre, the history and emergence of the phenomenon and its development, in social and educational contexts, this paper tries to contribute to understanding the importance of producing quality comedy, avoiding not only the distortion of the artistic act, but also the decay of society. Some Romanian Perspectives of this comic form are also analyzed. Keywords: S

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24

Jang, KeumHee. "The Tradition and Breakdown of Menandrian New Comedy in The New-Comedy of Manners of Joe Orton." Journal of Modern British & American Language & Literature 37, no. 3 (2019): 145–65. http://dx.doi.org/10.21084/jmball.2019.08.37.3.145.

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Baktybayeva, A. T., and A. A. Bizhanova. "Specificity of Comedy in Contemporary Kazakh Prose (E. Tursunov’s Short Story Cycle)." Nauchnyi dialog 12, no. 5 (2023): 250–68. http://dx.doi.org/10.24224/2227-1295-2023-12-5-250-268.

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The relevance of this article lies in the need to construct a comprehensive history of the development of comedy in contemporary Kazakhstani literature, of which the works of Ermek Tursunov are an integral part. The author explores various approaches to the study of irony, satire, and humor, including philosophical (G. Hegel, F. Schlegel), cultural (A. Bergson, B. Dzemidok, M. M. Bakhtin, D. S. Likhachev, Y. Borev, A. M. Panchenko, N. V. Ponyrko, V. Ya. Karasev), and philological (V. Tyupa, V. Propp, M. Yu. Asanina, I. A. Obukhova, S. A. Dubrovskaya). The scientific novelty lies in the fact th

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NAZARENKO, O., and A. LIUTA. "LINGUISTIC AND SOCIOCULTURAL ASPECTS OF STAND-UP COMEDIES." Current issues of linguistics and translation studies 22 (December 2, 2021): 13–17. https://doi.org/10.31891/2415-7929-2021-22-3.

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The genre of comedy originates from ancient Greece. However, this fact does not prevent it from changing and taking new forms over the years. Stand-up comedy derived from variety shows and vaudeville and emerged as a new separate genre recently. Although the study of humour in its many genres has been conducted for centuries, the study of stand-up comedy has received little attention. This may be because of the fact that stand-up comedy is a relatively “young” genre of humour. Until the 1960s, stand-up comedians did not play a central role during the performance but served as a kind of filler

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Edwards, Leslie Collins. "Poetic Values and Poetic Technique in Aristophanes." Ramus 19, no. 2 (1990): 143–59. http://dx.doi.org/10.1017/s0048671x00002897.

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AtWasps57-66, Aristophanes distinguishes his comedy from humor of the vulgar (phortikē) Megarian sort. Elsewhere he boasts that his comedy is more intellectual, for it is clever and wise (Clouds548, 522); and alleges that his rivals write comedy which aims only at laughs and relies for this purpose on vulgar props and language, while his comedy is primarily verbal (epea, Clouds544), conceptual (ideai, dianoiai, Clouds547;Peace750; etc.), innovative (kainon ti, Wasps1044, 1053;Clouds547), and infused with modesty (sōphrosunē, Knights545,Clouds537; etc.). It goes without saying that any and all

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Sihombing, Lambok Hermanto, and Maria Paskalia Aninda. "SHIFTING PHENOMENON: AN ANALYSIS OF STAND UP COMEDY INDONESIA." Jurnal Visi Komunikasi 22, no. 02 (2023): 180. http://dx.doi.org/10.22441/visikom.v22i02.17774.

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The lengthy road of Stand Up Comedy Indonesia has not been in vain, as it has become a popular event with many followers. Stand-Up comedy is today well-known not only due to the excitement of the show but also because the content delivered is of excellent quality and suited for all audiences. However, many comedians whose careers were launched by Stand-Up Comedy have since changed careers. This is, of course, a topic worthy of further investigation. This study tries to analyze the growth of stand-up comedy in Indonesia by examining the paths of comedians who left their comfort zones for new ca

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Wang, Qi, and Ning Meng. "NEW MODEL AND GENRE CONVENTIONS: A DEEP ANALYSIS OF THE INNOVATIONS IN CRAZY STONE." Journal of Tourism, Hospitality and Environment Management 10, no. 39 (2025): 87–92. https://doi.org/10.35631/jthem.1039007.

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This paper analyzes how Ning Hao's Crazy Stone (2006) inherits and innovates the genre conventions of Chinese black comedy films. Since the 1980s, Chinese black comedy films have absorbed Western creative techniques and developed a unique genre style. Crazy Stone successfully breaks the traditional framework of black comedy by blending genres, employing multiple narrative lines, and incorporating localized expressions. The film combines absurd humor, social criticism, and cultural symbols, creating a new genre model that has had a profound impact on subsequent films of the same genre. However,

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Пејчић, Александар. "РУКОПИС КОМЕДИЈЕ ШТЕФИЦА ФИЛМСКА ЗВЕЗДА БРАНЕ ЦВЕТКОВИЋА". PHILOLOGIA MEDIANA 14, № 1 (2022): 629–52. http://dx.doi.org/10.46630/phm.14.2022.43.

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The work has been prepared and critically commentedon the manuscript of one-act / comedy Stefica is the film star of Brana Cvetkovic. His biography and bibliography have been supplemented with new knowledges.The history of the manuscript is pointed out and the work of Brana’s theater is described.The poetic features of his comedy were singled out and the comedy was briefly analyzed, with an emphasis on aspects of modernity.

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31

Miola, Robert S. "New Comedy inAll's Well That Ends Well." Renaissance Quarterly 46, no. 1 (1993): 23–43. http://dx.doi.org/10.2307/3039146.

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We are all Familiar with the traditional understanding of sources: a source is a previous text that shapes a present one through authorial reminiscence and manifests itself in verbal iteration. As the seminal works of Baldwin, Muir, and Bullough amply demonstrate, this definition has served us long and well, but every element in it has undergone intense scrutiny and reevaluation. Scholars now recognize the potential limitations of a linear, authorcentered, and largely verbal approach and have become attuned to the likelihood of intermediation, the encodings implicit in genre and language, the

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32

Anderson, William S., and R. L. Hunter. "The New Comedy of Greece and Rome." Classical World 80, no. 4 (1987): 321. http://dx.doi.org/10.2307/4350046.

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Basiouny, Dalia. "New York Arab-American Comedy Festival (review)." Theatre Journal 58, no. 2 (2006): 327–31. http://dx.doi.org/10.1353/tj.2006.0098.

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Krefting, Rebecca, and Rebecca Baruc. "A new economy of jokes?: #Socialmedia #Comedy." Comedy Studies 6, no. 2 (2015): 129–40. http://dx.doi.org/10.1080/2040610x.2015.1083165.

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Brown, P. G. McC. "Love and Marriage in Greek New Comedy." Classical Quarterly 43, no. 1 (1993): 189–205. http://dx.doi.org/10.1017/s0009838800044268.

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Writing of Terence's Andria (‘The Girl from Andros’) in 1952, Duckworth said: ‘In the Andria the second love affair is unusual; Charinus’ love for a respectable girl whose virtue is still intact has been considered an anticipation of a more modern attitude towards love and sex. More frequently in Plautus and Terence the heroine, if of respectable parentage, has been violated before the opening of the drama (Aulularia, Adelphoe), or she is a foreigner, a courtesan, or a slave girl' (Duckworth (1952), p. 158). Perhaps in 1993 it does not seem quite so ‘modern’ that Charinus is not only in love w

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Konstan, David, and R. L. Hunter. "The New Comedy of Greece and Rome." American Journal of Philology 109, no. 1 (1988): 142. http://dx.doi.org/10.2307/294770.

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Waugh, Katharine A. "It's WWWar! A Rollicking New Comedy Series." Internet Reference Services Quarterly 2, no. 2-3 (1997): 35. http://dx.doi.org/10.1300/j136v02n02_05.

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U. S. Dhuga. "Comedic Cohesion: Clive James’s New Verse Translation of The Divine Comedy." Antipodes 28, no. 1 (2014): 229. http://dx.doi.org/10.13110/antipodes.28.1.0229.

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Omelchenko, Dmitry, and Albina Garifzianova. "Stand-up in Russia: an (un)funny and (non)toxic profession in the context of new creative spheres of professionalization." Zhurnal sotsiologii i sotsialnoy antropologii (The Journal of Sociology and Social Anthropology) 28, no. 2 (2025): 92–118. https://doi.org/10.31119/jssa.2025.28.2.4.

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The professionalization of stand-up comedy is examined in the broader context of creative careers embedded in the creative industries of contemporary Russia. Drawing on the analysis of biographical interviews with standup comedians in Russian cities, an analysis of the development of career paths alongside the formation of professional identity is proposed. Emphasis is placed on the uncertainty and instability of employment combined with the accessibility and comparative independence in the shaping of work routines, which makes the choice of such career paths attractive and, at the same time,

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Colla, Elena. "Tipi da commedia? Personaggi e trame nel Corpus Lysiacum." Rhetorica 33, no. 2 (2015): 109–33. http://dx.doi.org/10.1525/rh.2015.33.2.109.

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Modern scholars have sometimes noticed in the Lysianic speeches some affinities with characters and plots of the (New) Comedy. Through a survey of the corpus, this paper resumes the critical data, adds some new elements of similarity, not only with Comedy, but generally with literature and suggests that Lysias usually worked in this way. If so, it could be preferable to suppose that the logographer took the cue not from comedy, but from everyday life; secondarily, that he sketched characters and plots starting from the particular (his client) to the general; finally, that these artistic elemen

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Szczot, Monika. "Why comedy? Quotations from the comedy of Aristophanes and their role in the work Paedagogus by Clement of Alexandria." Język. Religia. Tożsamość. 1, no. 31 (2025): 431–43. https://doi.org/10.5604/01.3001.0055.1473.

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The purpose of this article is to show the links between the works of Clement of Alexandria and Greco-Roman culture. The author of the work Paedagogus refers many times to Greek comedies of various periods. He quotes Aristophanes’ comedy Lysistrata three times. In his work, Clement oscillates between the role of a humourist, who uses Aristophanes’ drama for comic purposes, and a satirist who criticises negative customs. He is also an ironist who accepts comedic ridicule in order to show the hidden meanings that come from the contrast between the literal pagan meaning of comic phenomena and the

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Bedenko, Vladimir Nikolaevich. "Comedy film as a modern embodiment of the culture of laughter." Философия и культура, no. 8 (August 2020): 1–10. http://dx.doi.org/10.7256/2454-0757.2020.8.33452.

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The object of this article is the comedy cinematography. The subject is the comedy cinematography as a manifestation of the culture of laughter. The author examines such aspects of the topic as the culture of laughter and the history of its conceptualization in the humanities knowledge, historical manifestations of the culture of laughter in different eras. Special attention is given to the idea that comedy film is a significant embodiment of the culture of laughter in modern art. The author analyzes comedy as genre of cinematography; substantiates the impact of comedy film upon society throug

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Clarke, Peter B. "Religions Traditional and New in the Encyclopedia of Religion." Religious Studies 24, no. 1 (1988): 19–27. http://dx.doi.org/10.1017/s0034412500001189.

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A comedy, unlike a tragedy which the experts maintain has to succeed greatly if it is to succeed at all, can be evaluated on a more or less basis. The former can likewise be great, but it can also be quite funny or only mildly amusing and remain a worthwhile comedy and it is this kind of relativist assessment that this writer believes is appropriate with regard to the sections of this encyclopaedia dealing with ‘traditional’ and ‘new’ religions. The former section, taken in the round, is impressive in terms of its range, the quality of the entries and the back-up or support material, the latte

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Bradby, David, and Peter Norrish. "New Tragedy and Comedy in France 1945-70." Modern Language Review 85, no. 4 (1990): 987. http://dx.doi.org/10.2307/3732734.

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Running-Johnson, Cynthia, and Peter Norrish. "New Tragedy and Comedy in France, 1945-1970." Theatre Journal 42, no. 4 (1990): 530. http://dx.doi.org/10.2307/3207747.

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W. Handley, Eric. "Some Thoughts on New Comedy and its Public." Pallas 47, no. 1 (1997): 185–200. http://dx.doi.org/10.3406/palla.1997.1475.

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Cover, Michael Benjamin. "The Divine Comedy at Corinth: Paul, Menander and the Rhetoric of Resurrection." New Testament Studies 64, no. 4 (2018): 532–50. http://dx.doi.org/10.1017/s0028688518000140.

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This article asks how the New Comedy of Menander might have influenced Paul's theological rhetoric in 1 Cor 5–15. An intertextual reading of Paul's letter against the backdrop of Menander'sSamiareveals a number of shared topics, ethical concerns and dramatic characteristics. Paul's citation of Menander'sThaisin 1 Cor 15.33 is part of this larger strategy to frame the struggles in Corinth within the ambit of Greek household ‘situation comedy’. Like Menander, Paul hybridises tragic and comic motifs throughout his epistle, inflecting the comedy of the Christ narrative with tragic examples of huma

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Karim, Sajjadul. "Ben Jonsons Volpone : An Unconventional and Innovative Jacobean Comedy." IIUC Studies 8 (September 10, 2014): 27–38. http://dx.doi.org/10.3329/iiucs.v8i0.20400.

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Ben Jonsons Volpone (1605) is the best known, most performed and most studied of all of his Plays. Volpone, or The Fox, does not contain the traditional moral and broad themes of Shakespeare. Volpone, disguised as a didactic comedy, is actually an intelligent and cynical satire that compels the audience to rethink their moral expectations. In Volpone, Jonson was successful in combining three genres in order to create a new form of comedy. Volpone is a powerful moral study of human greed, foxy cunning, and goatish lust. It is not the traditional form of comedy. It is a play that takes on the f

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Moreva, Eugeniya, and Andrii Maslov-Lysychkin. "The Birth of a New Type of Comedy in Charlie Chaplin's Films." Bulletin of KNUKiM. Series in Arts, no. 47 (December 26, 2022): 26–32. https://doi.org/10.31866/2410-1176.47.2022.269545.

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The purpose of the article is to determine the prerequisites for the formation and development of new genres of film comedy in the work of American director Charlie Chaplin and to systematize the basic principles of his comedic drama. Research methodology. The biographical method was used (with its help parallels were drawn and regularities were found between the professional activity and life vicissitudes that befell the artist throughout his life, especially in the early periods) and the socio-cultural approach (it reveals the professional and personal context in which the director

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Fantini, Endah. "REPRESENTASI ADEGAN KEKERASAN DALAM TAYANGAN KOMEDI TELEVISI (ANALISIS SEMIOTIKA TERHADAP PROGRAM OPERA VAN JAVA DI TRANS7)." Majalah Ilmiah Bijak 15, no. 1 (2018): 91–105. http://dx.doi.org/10.31334/bijak.v15i1.135.

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Opera Van Java (OVJ) Television program on Trans7 earns a high rating and share in a relatively short time. This is a new phenomenon in the category of comedy that shows a television program in Indonesia can be successful. This event received much praise, so the OVJ included a comedy that received great public attention. The silly story presented by OVJ is very funny and appealing to all walks of life.Trans7's communications management on this television comedy program has demonstrated professional work in managing comedy programs. This is done by building the synergy / performance of all the

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